THE  LIBRARY 

OF 

THE  UNIVERSITY 
OF  CALIFORNIA 

LOS  ANGELES 


COMPLIMENTS    OF 


THE  PHILHARMONIC  SOCIETY 

OF  NEW  YORK 


CARNEGIE  HALL.  N.  Y. 


\a\\t 


DDE 


310 


U.  C.  HILL 

KIKST    PRESIDENT   OF 

THK  PHILHARIVfONIC  SOCIETY  OF  NEW  YORK 
1842 


The 

Philharmonic  Society 

of 

New  York 

AND    ITS 

SEVENTY -FIFTH    ANNIVERSARY 


A    RETROSPECT 


By 
JAMES  GIBBONS  HUNEKER 


LIBRARY 

riL 

2.OO.S 


In  this  year  of  grace,  1917,  The  Philharmonic 
Society  of  New  York  celebrates  its  seventy- 
fifth  anniversary.  It  was  founded  in  April  1842, 
and  its  history  has  been  one  of  uninterrupted 
music-making.  Its  first  concert  was  given  in  the 
Apollo  Rooms,  New  York  City,  on  December 
7th,  1842,  and  there  is  nothing  in  its  past  or 
present  that  indicates  any  break  in  the  con- 
tinuity of  its  future  musical  activities.  Hard  to 
come  by  and  difficult  to  set  down  is  the  record 
of  the  Society  because  of  the  meagre  document- 
ary evidence,  most  of  it  secured  by  haphazard 
hearsay;  and  the  amount  of  details, — names, 
dates,  happenings, — are  for  the  most  part  still 
enveloped  in  mist.  Mr.  Henry  Edward  Kreh- 
biel  recited  in  his  Memorial  of  the  Fiftieth 
Anniversary  of  The  Philharmonic  Society, 
April  1892,  his  pains  in  securing  authoritative 
data.  He  had,  to  be  sure,  the  privilege  of  per- 
sonally interviewing  William  Scharfenberg, 
Samuel  Johnson,  and  James  L.  Ensign,  "three 
of  the  five  surviving  members  of  the  Society 
at  its  foundation,  and  Anthony  ReifT."  So  he 
was  able  to  incorporate  in  his  Memorial  the 
reports  of  his  viva-voce  interviews,  a  fact  that 
has  made  his  labor  of  enduring  value.  The 
present  writer  of  these  notes  has  had  no  such 
lucky  experience  and  must  therefore  depend 
upon  printed  history  for  the  facts  and  figures 
of  the  first  half  century. 


640511 


The  official  machinery  and  its  inner  func- 
tioning it  is  not  deemed  necessary  to  dwell  upon 
now.  A  corporate  organization,  the  Society 
has  its  constitution  and  by-laws.  It  has  been 
pointed  out  that  it  is  a  democratic  body  whose 
object  is  the  cultivation  and  performance  of 
instrumental  music.  Since  its  birth  it  records 
two  hundred  and  fifty-nine  regular  concerts  up 
to  the  year  1892,  and  a  record  that  has  been 
bettered  by  but  few  foreign  orchestras.  Whereas, 
at  each  season  nowadays  there  are  concerts 
given  which  amount  to  about  one  quarter  of 
the  entire  number  of  the  complete  first  half 
century,  which  fact  should  suffice  as  an  answer 
to  pessimists  who  tell  us  that  the  art  of  music 
is  declining.  Beginning  as  a  professional  mu- 
sical society,  the  Philharmonic  has  changed, 
not  in  its  aims,  which  have  been  always  lofty, 
but  in  the  inclusion  of  the  laity.  It  is  justly 
considered  an  honor,  and  rightly  so,  for  non- 
professionals  to  be  associated  in  the  conduct  of 
the  Society.  Thus,  after  the  first  quarter  of  a 
century  had  elapsed,  during  which  time  the 
President  was  naturally  enough  a  professional 
musician,  gentlemen  well-known  in  the  culti- 
vated, financial  world  and  society,  have  figured 
as  interested  co-workers  with  the  Society.  Only 
good  was  bound  to  result  in  this  agreeable  in- 
tercourse. And  with  the  passage  of  the  years 
this  innovation  has  become  one  of  the  main- 
stays of  the  institution. 

In  the  tenth  annual  report  of  the  Society  is 
to  be  found  the  causes  that  led  to  its  formation. 
It  seems  that  for  several  years  previous  to  the 


spring  of  1842  the  need  of  an  orchestra  in  the 
City  of  New  York  was  felt,  not  only  by  musi- 
cians but  also  by  numerous  music  lovers.  A 
peep  at  the  local  musical  events  of  those  days 
shows  that  an  unusual  interest  in  the  "divine 
art"  was  manifest.  New  York  was  hardly  the 
raw,  uncultivated  metropolis  so  frequently  de- 
scribed by  hypercritical  visitors  from  across 
seas.  Its  devotion  to  the  drama,  to  art  and 
literature  was  marked.  For  music,  as  the  chroni- 
cles relate,  it  had  always  displayed  a  special 
predilection.  U.  C.  Hill  (whose  full  name  was 
Ureli  Corelli  Hill,  a  combination  which  recalls 
at  once  Poe  and  Italian  musical  history)  had 
been  in  Europe,  and,  a  passionate  disciple  of  all 
that  was  noble  in  the  classics,  he  held  counsel 
with  several  musicians,  C.  E.  Horn,  William 
Penson,  P.  Maroncelli,  and  others,  as  to  the 
possibility  of  founding  an  orchestra.  At  the 
Apollo  Rooms,  April  2nd,  1842,  a  meeting  was 
held  in  which  there  participated  a  number  of 
musicians.  Mr.  Hill  called  the  meeting  to  order 
Mr.  A.  P.  Heinrich  was  appointed  chairman, 
and  Mr.  F.  W.  Rosier,  Secretary.  The  meeting 
was  adjourned  to  April  16th,  and  again  to  the 
23rd  of  the  same  month.  The  officers  were 
elected  as  follows :  President,  U.  C.  Hill ;  Vice- 
President,  A.  Reiff ;  Secretary,  F.  W.  Rosier; 
Treasurer,  Allan  Dodworth;  and  Librarian, 
W.  Wood.  At  the  next  meeting,  May  7th,  an 
addition  was  made  to  the  number  by  two  assist- 
ants, A.  Boucher  and  H.  Otto.  Rehearsals  were 
at  once  begun  and  the  first  concert,  as  said 
before,  took  place  December  7th,  1842.  Surely 


a  marking  date  in  the  musical  history  of  the 
United  States. 

Mr.  Hill  possessed  an  ambitious  nature.  He 
had  studied  with  the  great  violinist  Spohr  at 
Cassel,  Germany,  and  according  to  William 
Scharfenberg  this  influenced  him  in  his  de- 
termination to  found  an  orchestra  here.  An- 
thony Reiff ,  the  son  of  the  first  Vice-President 
of  the  Society  (he  died  October  1916)  believed 
it  was  during  a  visit  of  Hill  to  Europe  in  com- 
pany with  the  elder  Reiff  that  the  idea  was 
born.  Mr.  Ensign,  who,  in  1837,  was  a  pupil 
of  Hill,  declared  that  he  often  heard  his  teacher 
speak  of  the  scheme  at  rehearsals  of  the  Eu- 
terpean  and  the  New  York  Sacred  Music  So- 
ciety. Be  this  as  it  may,  there  is  no  doubt  that 
Hill  was  the  prime  mover  in  the  affair.  Enthu- 
siasm hid  a  multitude  of  musical  shortcomings, 
and  such  pianists  and  teachers  of  that  instru- 
ment, as  Timm,  Scharfenberg,  and  Etienne, 
joined  Hill  in  his  rather  risky  enterprise.  From 
another  witness,  Thomas  Goodwin,  the  chroni- 
cler of  the  Memorial  heard  fresh  gossip.  It 
was  at  the  restaurant  in  Park  Row,  appositely 
called  "The  Shakespeare"  that  a  gathering 
occurred  of  the  men  who  are  above  mentioned, 
and  with  historical  consequences,  for  The  Phil- 
harmonic Society  was  born. 

The  complete  programme  of  the  first  concert 
is  not  only  of  historical  interest  but  it  is  of 
especial  significance,  inasmuch  as  it  reveals  the 
high  standard  of  musical  excellence  from  the 
start ;  a  standard  that  has  been  maintained  ever 
since.  U.  C.  Hill  conducted  the  Symphony  No. 


5,  in  C-minor  of  Beethoven, — one  is  tempted  to 
say  the  keystone  of  symphonic  music.  H.  C. 
Timm  conducted  the  new  overture  in  D  by  the 
now  obsolete  composer,  Kalliwoda ;  also  the  vo- 
cal music.  In  addition,  there  were  the  Overture 
to  Weber's  "Oberon,"  directed  by  Etienne;  the 
D-Minor  Quintet  by  Hummel  for  pianoforte, 
violin,  viola,  violoncello,  and  double-bass 
(Messrs.  Scharfenberg,  Hill,  Derwort,  Bou- 
cher and  Rosier).  Madame  Otto  sang  a  scene 
from  "Oberon,"  and  with  C.  E.  Horn,  a  duet, 
from  Rossini's  "Arunda."  A  scene  was  sung 
from  "Fidelio"  by  C.  E.  Horn,  and  the  Aria 
Bravura  from  Mozart's  "Belmont  and  Con- 
stance" was  delivered  by  Madame  Otto.  There 
were  numbers  in  this  list  that  signify  an 
acquiesence  in  the  musical  taste  of  the  times; 
but  Beethoven,  Beethoven  the  Alpha  and 
Omega  of  the  Symphony,  is  the  foundation 
upon  which  is  built  the  tonal  edifice  of  The 
Philharmonic  Society. 

And  how  did  this  epoch-making  concert 
succeed?  How  did  the  band  play?  What 
"notables"  were  in  the  audience,— doubtless 
a  "galaxy"  of  fashion,  youth  and  talent? 
We  do  not  know,  but  we  think  that  there 
are  a  few  among  The  Philharmonic  Society 
audiences  of  to-day  who  would  like  to  bridge 
the  years  and  find  themselves  in  the  old 
Apollo  Rooms  there  listening  to  the  not  alto- 
gether inharmonious  efforts  of  certain  valiant 
musical  fanatics.  Those  men  of  1842  represent 
the  allegorical  acorn  from  which  has  grown 
the  mighty  oak  of  1917.  They  are  dead,  the 


Apollo  Rooms  have  vanished,  but  The  Philhar- 
monic Society  still  lives  and  flourishes,  and  the 
name  of  Beethoven  has  waxed,  not  waned,  with 
the  flight  of  time.  Is  it  claiming  too  much  then 
to  assert  that  the  Society  has  zealously  kept 
alight  the  burning  coal  on  the  sacred  altar  of 
art  in  our  native  land? 

Who  were  the  musicians  of  the  Society  in 
those  days  ?  The  list  of  the  second  season  gives 
their  names,  and  it  is  a  holy  and  wholesome 
thought  that  honors  these  pioneers.  We  there- 
fore make  no  apology  for  giving  their  names 
and  individual  instruments.  Furthermore,  we 
propose  to  give  the  personnel  of  The  Philhar- 
monic Society  Orchestra  in  1892  and  1917  (its 
fiftieth  and  seventy-fifth  years,  respectively). 
Here  is  the  original  roster : 


Violins 

Violas 

Flutes 

G.  F.  Bristow 

Chevalier 

P.  Ernst 

G.  De  Luce 

G.  H.  Derwort 

J.  Gosden 

A.  Dodworth 

Grebner 

J.  A.  Kyle 

H.  B.  Dodworth 

T.  Goodwin 

f}hn0  c 

L.  De  Janon 
J.  L.  Ensign 
G.  O.  Fullgraff 

S.  Johnson 
P.  A.  Schmeling 

LxC/CJco 

Stark 
Wiese 

U.  C.  Hill 

Violoncellos 

Clarinets 

C.  Herzog 
Hellwig 

A.  Boucher 
S.  Milon 

T.  W.  Groenevelt 
Goeller 

Helfenritter 
S.  Knaebel 

W.  Musgriff 
D.  Walker 

Bassoons 

H.  Marks 

A.  Kyle 

L.  Martini 

Double-Basses 

A.  Reiff 

C.  Meyrer 
Hriffrt 

C.  Jacoby 

Horns 

.   VyllO 

W.  H.  Sage 
C.  Saur 

G.  Loder 
G.  La  Bianco 

R.  Munson,  Jr. 
W.  Nidds 

F.  Stier 
L.  Wiegers 

J.  Pirsson 
Schneider 

G.  Trojsi 
C.  F.  Woehning 

Weiss 

Octave  Flute 

Trumpet 

E.  Woolf 

C.  R.  Dodworth 

J.  F.  Wolter 

Trombones  Pianoforte  Pianoforte  or 

J.  Metz  Horn 

T.  Dodworth 

vrf   piain  Pianoforte  or  D.  Etienne 

C.  Schultz  w   Scjf'ennberg 

Drums  Pianoforte  or 

Trombone          W.  Alpers 
Wood  H.  C.  Timm  Dr.  Hodges 

Total  number  of  Actual  Members  63;  its 
only  vacancy  being  that  of  second  trumpet. 

An  adequate  sized  orchestra  even  in  our 
times. 

In  the  constitution  adopted  on  April  23rd, 
1842,  may  be  noted  the  ideas  later  developed. 
The  actual  membership  was  limited  to  seventy 
men  all  professional  musicians.  The  orchestra 
was  to  consist  of  at  least  fifty-three  actual 
members ;  ten  first  violins ;  nine  second  violins ; 
six  violas;  four  violoncellos;  four  double 
basses ;  two  oboes ;  two  clarinets ;  two  bassoons ; 
four  horns;  two  flutes;  one  piccolo;  three 
trombones ;  two  trumpets ;  kettle-drums.  Later 
there  were  thirty  associate  members,  also  pro- 
fessional, who  on  payment  of  five  dollars  per 
annum,  were  to  be  admitted  to  the  Society's 
rehearsals  and  concerts,  and,  in  case  of  vacan- 
cies, to  be  preferred  for  actual  membership. 
The  Society  was  not  incorporated  until  Febru- 
ary 17th,  1853. 

At  the  close  of  the  sixth  season  the  associate 
list, — divided  into  Professional  and  Amateur, 
—had  grown  to  132  members  and  among  the 
latter  appeared  for  the  first  time  the  names  of 
women.  Dr.  R.  Ogden  Doremus  was  for  many 
years  a  ruling  and  invaluable  spirit  in  its  coun- 


cils,  and,  also  its  President.  As  long  ago  as 
those  early  years  when  the  Society  was  exper- 
iencing the  usual  ups  and  downs  of  all  such 
organizations, — suffering  from  growing  pains, 
in  a  word,  there  were  those  who  declared :  "We 
must  have  a  Philharmonic  Hall."  But  it  was 
not  yet  to  be.  The  Society  played  in  various 
places,  the  Academy,  Irving  Hall,  Steinway 
Hall,  and  elsewhere.  It  grew.  It  prospered. 
It  became  a  solid  musical  institution. 

In  1865  we  find  that  to  pay  a  solemn  tribute 
to  the  memory  of  the  President,  Abraham  Lin- 
coln, the  Hymn  of  Joy  was  omitted  from  Beet- 
hoven's "Ninth"  Symphony,  and  the  Funeral 
March  from  the  "Eroica"  was  given  instead. 

Various  were  the  conductors  of  the  Society 
during  the  first  half  century  of  its  existence 
(1842-1892).  We  find  the  names  of  Hill, 
Timm,  Etienne»  Alpers,  Boucher,  Loder,  Wie- 
gers,  Theodore  Eisfeld,  Max  Maretzek,  Carl 
Bergmann, — from  1855  to  1876, — G.  Matzka, 
Leopold  Damrosch, — in  the  35th  season,  1876- 
1877,  — and  Theodore  Thomas,— 1877-1878. 
Adolph  Neuendorf?  conducted  during  the  sea- 
son of  1878-1879;  and  Theodore  Thomas  re- 
turned for  the  season  of  1879-1880,  and  held 
the  baton  till  April  1892  when  he  was  succeeded 
by  Anton  Seidl.  But  apart  from  the  sincere 
and  indefatigable  work  of  the  earlier  men,  the 
two  conductors  who  unquestionably  shaped  the 
musical  destinies  of  The  Philharmonic  Society 
were  Carl  Bergmann  and  Theodore  Thomas. 
The  former  was  a  man  of  unusual  ability,  a 
conductor  of  the  first  rank,  and  the  possessor 

8 


of  a  bold  inquiring  spirit. 

If  Hill  and  the  others  began  with  the  clas- 
sics, Bergmann's  far  ranging  ambition  and 
curiosity  prompted  him  to  espouse  the  cause  of 
the  revolutionists,  Berlioz,  Wagner,  Liszt.  It 
rather  effaces  the  novelty  of  the  Tannhauser 
Overture  if  we  recollect  that  it  was  first  played 
at  a  Philharmonic  concert  on  April  21st,  1855, 
and  under  Bergmann's  direction.  In  1857  he 
conducted  the  Prelude  to  "Lohengrin,"  and  the 
Overture  to  "The  Flying  Dutchman"  in  1863. 
The  Prelude  to  "Tristan  and  Isolde"  was  first 
heard  in  New  York,  March  10th,  1866,  two 
decades  before  its  complete  performance  under 
Anton  Seidl  at  the  Metropolitan  Opera  House, 
in  1886,  and  one  year  after  its  first  performance 
at  Munich  in  1865.  Not  a  bad  record  for  the 
new  world.  Bergmann  was  also  a  lover  of 
Liszt.  He  gave  New  York  in  1859  "Les  Pre- 
ludes," and  followed  it  with  symphonic 
poems,  "Tasso,"  "Fest-Klange,"  and  in  1864  the 
Faust  Symphony,  a  daring  procedure  in  those 
faraway  days.  But  then  Bergmann  was 
nothing  if  not  daring.  His  temperament  was 
fiery,  sound  his  musicianship.  Theodore  Eisf  eld 
no  doubt  helped  to  form  him;  as  Bergmann  in 
turn  helped  to  form  Theodore  Thomas  on  the 
threshold  of  his  remarkable  career.  Nor  was 
Bergmann  unmindful  of  the  classics,  as  a 
glance  at  the  programmes  of  the  Society  amply 
testify.  He  was  sole  conductor, — after  alter- 
nating with  Eisf  eld  for  ten  years, — from  1866 
to  1876,  when  he  died. 

The  consulship  of  Theodore  Thomas  was, 


with  the  exception  of  a  year  spent  in  Cincinnati 
(1878),  from  1879  to  1892,  when  he  went  to 
Chicago,  there  to  found  another  orchestra.  He 
had  previously  instituted  the  Theodore  Thomas 
orchestra  here;  and  as  early  as  1855,  with 
William  Mason,  Joseph  Mosenthal,  G.  Matzka, 
and  Carl  Bergmann,  he  had  founded  the  Cham- 
ber Music  Concerts,  begun  by  Eisfeld  (F. 
Bergner  replaced  Bergmann  in  1861). 

It  is  no  exaggeration  to  state  that  Theodore 
Thomas  did  more  for  orchestral  music  in  North 
America  than  any  previous  conductor.  His 
influence  was  profound  and  far-reaching.  His 
was  a  household  name  wherever  a  love  of  good 
music  was  to  be  found.  He  literally  formulated 
and  controlled  musical  taste  the  length  and 
breadth  of  the  land.  He  was  the  arbiter  of  our 
musical  destinies.  And  he  sometimes  played  the 
tyrant.  For  a  period  he  was  not  only  the  con- 
ductor of  The  Philharmonic  Society  but  in  the 
eyes  of  some,  the  Society  itself.  Personification 
is  an  amiable  weakness  of  humanity,  and  the 
sight  of  this  distinguished  looking  man,  calm- 
ness itself,  conducting  with  ease  and  grace  the 
big  orchestra  of  the  Society,  did  not  fail  to 
evoke  the  image  of  a  military  general  at  the 
head  of  his  army.  And  the  image  was  justified 
in  the  perfect  discipline  maintained  by  the  con- 
ductor. He  had  but  to  lift  his  magic  wand  and 
the  audience  was  thrilled.  His  personal  impress 
on  the  performances  of  the  Society  was  note- 
worthy. He  could  not  be  said  to  have  formed 
its  tradition  in  interpretation,  for  Carl  Berg- 
mann had  preceded  him.  But  he  moulded  the 

10 


younger  men,  some  of  whom  are  now  mature 
members  of  the  organization.  A  relentless 
drill-master,  gifted  by  nature,  and  cultivated 
by  experience,  with  almost  miraculous  hearing, 
he  could  at  rehearsal  put  his  finger  on  every 
weak  spot.  Never  before  had  the  technical 
standard  of  the  Society  been  raised  to  such  a 
pitch.  Surety  of  attack,  brilliancy,  sonority* 
temperamental  energy  were  all  to  be  heard,  in 
conjunction  with  tonal  purity  and  balance; 
above  all,  by  a  massive  foundational  quality 
that  made  and  still  makes  the  performances  of 
this  orchestra  unique  in  an  age  of  superlative 
orchestral  playing.  Mr.  Thomas  was  catholic 
in  his  programmes  as  never  any  conductor  pre- 
ceding him.  He  literally  taught  us  how  to  listen 
to  beautiful  music  from  Bach  to  Richard 
Strauss  (he  introduced  this  composer's  F-Minor 
Symphony).  The  Philharmonic  Society  owes 
much  to  Theodore  Thomas  and  never  fails  to 
acknowledge  its  indebtedness. 

The  labors  of  the  society  were  not  unob- 
served in  Europe.  That  such  music  should  be 
heard  in  our  "barbarous  gas-lit  land"  (as 
Charles  Baudelaire,  Poe's  French  translator, 
phrased  it)  was  strange  indeed.  Letters  from 
Felix  Mendelssohn,  Richard  Wagner,  Franz 
Liszt,  among  many  others,  came  to  the  Society. 
In  the  list  of  Honorary  Members  may  be  read 
the  names  of  Vieuxtemps  (1843);  Ole  Bull 
(1843);  Leopold  de  Meyer  (1845);  Joseph 
Burke  (1846);  Spohr  (1846);  Mendelssohn 
(1846);  Herz  (1846);  Sivori  (1846);  Botte- 
sini  (1850);  Jenny  Lind  (1850);  Benedict 

11 


(1850);  Henrietta  Sontag  (1852);  Alboni 
(1852);  Carl  Eckert  (1852);  Julien  (1853); 
William  Vincent  Wallace  (1853);  F.  J.  C. 
Schneider  (1853);  Richard  Hoffman  (1854); 
Gottschalk  (1855);  Badiali  (1856);  Anna  de 
La  Grange  (1857);  Thalberg  (1857);  Satter 
(1857)  ; Timm(  1863)  ;  Edward  Hodges  (1865) 
Eisfeld  (1865);  Scharfenberg  (1866);  Mills 
(1867);  Parepa-Rosa  (1870);  Anna  Mehlig 
(1870) ;  Liszt  (1872)  ;  Wagner  (1872) ;  Raff 
(1872);  Rubinstein  (1873);  Rafael  Joseffy 
(1883);  Theodore  Thomas  (1892);  Dr.  An- 
tonin  Dvorak  (1894) ;  and  Frederick  Bergner 
(1900).  Some  of  these  artists  played  or  sang 
at  the  Society's  concerts,  and  usually  intro- 
duced a  vocal  or  instrumental  novelty.  Thus 
the  New  York  musical  public  heard  new  con- 
certs for  violin,  violoncello,  pianoforte.  Ex- 
cerpts from  the  Wagnerian  music-dramas 
were  much  in  favor  at  a  time  when  there  were 
no  such  opportunities  as  we  enjoy  now  to  see 
and  hear  the  complete  performance.  The  list 
of  the  Honorary  Associate  Members  to  1892  is 
brief;  R.  Ogden  Doremus,  Edwin  Booth, 
George  T.  Strong,  and  E.  H.  Schermerhorn. 

In  the  foregoing  and  necessarily  fore- 
shortened review  this  fact  emerges :  The  Phil- 
harmonic Society  has  always  been  the  conserv- 
ator of  classic,  and  forerunner  of  all  that  is 
significant  in  modern  music.  And  while  its  pur- 
pose was  not  primarily  the  introduction  of 
novelties,  its  programmes  demonstrate  its  hos- 
pitality to  all  that  is  worthy  in  the  art.  And, 
as  Mr.  Krehbiel  has  truthfully  written:  "The 

12 


high  position  occupied  by  the  Society  has  been 
conquered  by  fifty  years  of  honest,  unspairing, 
artistic  effort."  A  splendid  achievement  which 
the  older  generation  regards  with  loyal  eyes; 
to  which  the  present  generation  owes  the  very 
foundation  of  its  musical  taste  and  knowledge. 
With  the  advent  of  Anton  Seidl,  as  con- 
ductor of  the  Society  and  successor  to  Theodore 
Thomas,  a  new  era  was  inaugurated,  not  only 
of  material  prosperity,  but  of  increased  artistic 
endeavor  and  accomplishment.  Seidl  was  the 
logical  successor  to  Thomas.  Coming  to  New 
York  accredited  by  Richard  Wagner,  and  a 
conductor  of  his  music  with  but  few  rivals, 
Seidl  directed  the  Metropolitan  Opera  in  1885, 
and  who  does  not  remember  his  brilliant  and 
beneficent  reign  in  that  field.  There  was  ele- 
mental power  in  this  man  with  the  picturesque 
head.  His  leanings,  however,  were  not  toward 
the  classics.  Wagner  and  Liszt  were  his  gods. 
It  may  be  truthfully  said  that  he  conducted 
certain  classic  compositions  for  the  first  time  in 
his  career  at  The  Philharmonic  Society  concerts. 
This  is  not  surmise  but  fact.  His  training  had 
been  one-sided,  though  long  before  his  sudden 
and  lamentable  taking-off  Seidl  had  toned  down 
the  somewhat  aggressive  style  of  his  Beetho- 
ven interpretations,  for  he  realized  that  there 
are  some  things  that  are  better  left  undone. 
Yet  it  cannot  be  denied  that  his  fiery  Hunga- 
rian temperament  made  venerable  bones  rattle. 
Seidl  was  nothing  if  not  dramatic.  Conserva- 
tive subscribers  "sat  up  and  took  notice"  when 
the  new  conductor  read  the  Fifth  and  Seventh 

13 


Symphonies  of  Beethoven.  Battles  royal  were 
fought  by  the  music-critics.  That  oboe  solo 
unduly  protracted,  to  give  one  example,  in  the 
Seidl  performance  of  the  Fifth  Symphony  was 
a  rock  of  offense  around  which  rallied  those 
for  whom  any  departure  from  the  traditional 
text  is  a  solemn  portent  in  the  heaven  of  nov- 
elty. To-day  the  Seidl  reading  is  a  common- 
place. 

The  splendor  of  Seidl's  performances  in  the 
domain  of  the  dramatic,  in  the  more  spacious 
music  of  Wagner,  Liszt,  Berlioz,  Tchaikovsky 
and  Strauss,  inter  alia,  gave  joy  to  all.  The 
truth  is  that  no  teasing  impulse  to  tamper  with 
sacred  tradition  had  caused  him  to  treat  such 
classics  as  Bach,  Beethoven,  Mozart,  with 
irreverence.  And  it  should  not  be  forgotten 
that  his  musical  training  had  been  pursued  in 
an  atmosphere  of  musical  heterodoxy.  He  ab- 
sorbed from  Wagner  revolutionary  theories  as 
to  the  interpretation  of  the  master  symphonies. 
Liszt  had  taught  him  the  beauty  of  orchestral 
coloring  and  the  superiority  of  the  symphonic 
poem.  Is  it  any  wonder  that  he  saw  as  if  with 
freshly  anointed  eyes;  saw  that  the  old  had 
been  superseded  by  the  new;  and  that  even  a 
Beethoven  symphony  might  be  mended  out  of 
all  resemblance  to  its  original  shape  and  gait. 
However,  it  did  not  take  long  for  Seidl  to  dis- 
cover that  a  cathedral  may  be  repaired,  but 
not  a  symphony.  At  the  time  of  his  death,  his 
once  startling  methods  had  rather  mellowed,  or 
else  quite  vanished. 

14 


The  first  evening  concert  under  the  new  re- 
gime took  place  Saturday,  November  21  inst. 
1891,  at  the  Metropolitan  Opera  House. 
The  programme  was  a  blending  of  old  and  new, 
and  indicated  that  the  new  conductor  meant 
to  try  for  the  eclectic  prize.  Beethoven's  Pas- 
toral; tone  pictures  from  Jean  Louis  Nicode's 
Symphony-Ode,  Opus  31,  "The  Sea;"  and  the 
Overture  and  Bacchanale  of  "Tannhauser," 
Paris  version,  comprised  the  instrumental  part. 
Madame  Lillian  Nordica  sang  an  aria  from 
Gluck's  "Armida"  and  Schubert's  "Erl  King," 
orchestration  by  Liszt.  King  Theodore  had 
abdicated;  King  Anton  occupied  the  throne. 

As  this  is  primarily  a  record  of  the  doings 
of  The  Philharmonic  Society,  and  not  of  its 
various  guests,  players,  and  singers,  the  list  of 
members  who  played  and  officers  during  the 
fiftieth  season  is  herewith  appended: 


Violins  A.  Rothmeyer  A.  Lilienthal 

R.  Arnold  B.  Herrmann  J.  Risch 

A.  Roebbelen  A.  Seiferth  J.  Eller 

G.  Hamm  F.  Kaltenborn  R.  Ringh 

G.  Dannreuther  H.  Erode  T.  John 

J.  Mosenthal  L.  Kester  E.  Essige 

E.  Bauer  C.  Rhaesa  J.  Frank 

R.  Klugescheid  P.  Walther  E.  Loehmann 

W.  Kollmer  A.  Rubel  W.  La  Croix 

S.  Froehlich  E.  Jordan  R.  Schuellinger 

A.  Bernstein  J.  Siemers  C.  Brosche 

C.  Hauser  F.  Herwig 

H.  Bahrs  T.  Christ 

L.  Schmidt  O.  Schreiner 

R  Sctm^t  Ph'  HerfUft  A.  Ho 

A.  Oestreicher  Violas  E.  Reineccius 

H.  Schloming  M.  Schwartz  A.  Hartdegen 

H.  Kraus  Th.  Jacoby  W.  Mueller 

J.  Rietzel  Geo.  Wiegand  V.  Herbert 

15 


Violoncellos,  cont. 

Oboes 

Tubas 

E.  Schenk 

J.  Eller 

E.  Vogel 

N.  Zedler 

C.  Stowasser 

F.  Schumann 

H.  Straub 

H.  Baumann 

F.  Wagner 

Clarinets 

Ph.  Lotze 

G.  Windisch 
H.  Egner 

J.  Drewes 
R.  Reinecke 

Bass  Tuba 

H.  Knoop 

Bassoons 

A.  Thomae 

Basses 

F.  Bernhardi 
A.  Sohst 

Tympani 

E.  Manoly 
G.  Kissenberth 
W.  Lowack 

Contra-Bassoon    . 
J.  Sauer 

S.  Bernstein 
E.  Jordan 

F.  F.  Leifels 

Horns 

Triangle 

J.  Blettermann 
J.  Hausknecht 
H.  Straubel 
J.  Willing 
C.  Burkhardt 

C.  Pieper 
W.  Schmidt 
W.  Schulze 
M.  Niebling 

A.  Rubel 

Bells 
C.  Brosche 

C.  Preusser 
Ch.  Weltzien 

Trumpets 

Bass  Drum 
H.  Greinert 

C.  Heidelberg 
C.  Beier 

F.  Dietz 
A.  Seiferth 

Harp 

Ed.  Greenop 

O.  Frenzky 

H.  Breitschuck 

Flutes 

Trombones 

Organ 

C.  Wehner 
F.  Rietzel 

J.  Pfeiffenschneider 
H.  Weinberger 

Jos.  Mosenthal 

Piccolo 

F.  Letsch 

J.  Ikler 

W.  La  Croix 

OFFICERS 

E.  FRANCIS  HYDE 

... 

Presid 

F.  RIETZEL 

... 

yice-Presid 

H.  SCHMITZ 

... 

Treasu 

A.   ROEBBELEN 

... 

Secret 

ANTON  SEIDL 

... 

Condut 

DIRECTORS 

Richard  Arnold  A.  Hoch 

F.  Bergner  Jos.  Mosenthal 

George  Wiegand  L.  E.  Manoly 

Ed.  Uhlig,  Librarian 


Anthony  Reiff 


TRUSTEES 
Th.  Jacoby 

16 


C.  Sohst 


The  Society  gave  three  concerts  in  its  first 
season,  1842,  then  made  the  number  four.  For 
sixteen  years  this  number  was  maintained,  then 
was  raised  to  five,  which  change  lasted  ten 
years.  Since  the  twenty-seventh  season  the 
number  had  been  six;  the  public  rehearsals 
varied  in  number.  As  we  shall  presently  see  the 
number  of  concerts  grew  apace,  and  in  response 
to  the  demands  of  the  public. 

During  the  years  Anton  Seidl  conducted,  the 
musical  novelties  were  numerous,  beginning 
with  the  aforesaid  Nicode  selection.  This  was 
followed  by  "Death  and  Apotheosis,"  Richard 
Strauss,  ( January  9, 1892)  ;  Symphonic  Fugue, 
Koch;  Symphony  No.  4,  op.  88,  Dvorak  (both 
on  the  same  programme,  March  12th,  1892)  ; 
Symphonic  Sketches,  The  Sea,  Paul  Gilson 
(December  17th,  1892)  ;  Sintram,  Symphony 
No.  2,  Templeton  Strong  (March  4th,  1893). 
Symphony  No.  5,  in  E-Minor,  op.  95  (manu- 
script) from  "The  New  World,"  Dvorak  (De- 
cember 16th,  1893)  ;  Symphony  in  D-minor, 
op.  21,  Christian  Sinding  (February  10th, 
1894)  ;  Victor  Herbert  played  his  second  Vio- 
loncello concerto,  March  10th,  1894;  Concerto 
for  Pianoforte,  No.  2,  in  D-minor,  op.  23,  E. 
A.  MacDowell  (December  15th,  1894);  Over- 
ture, Trilogy,  Dvorak  (January  12th,  1895); 
Overture,  op.  4,  from  "The  Scottish  High- 
lands," Frederic  Lamond  (March  7th,  1896)  ; 
Symphonic  Poem,  "Sehnsucht"  (after  Schiller) 
Siegfried  Wagner  January  8th,  1898)  ;  Suite, 
No.  2,  in  E-minor,  "Indian,"  op.  48,  E.  A. 
MacDowell  (January  29th,  1898)  ;  Symphony 

17 


No.  5,  in  B-flat  major,  Alexander  Glazounow 
(March  5th,  1898);  "Cleopatra's  Death," 
dramatc  scene,  Henry  Holden  Huss  (April  1st, 
1898).  The  orchestra  on  this  occasion  was 
conducted  by  Mr.  Frank  Van  der  Stucken  in 
lieu  of  Anton  Seidl,  who  suddenly  died  March 
28th,  1898.  A  note  in  the  programme  informed 
the  audience  that  instead  of  the  "Ode  to  Joy" 
in  the  "Ninth"  Symphony  of  Beethoven,  Sieg- 
fried's Death  March  would  be  given  as  a  token 
of  the  sorrow  felt  for  the  loss  of  the  great 
Hungarian. 

At  the  series  of  concerts  to  commemorate 
the  Fiftieth  Anniversary  of  the  Society,  given 
in  the  Metropolitan  Opera  House,  April  21st, 
22nd,  and  23rd,  1892,  the  first  programme  was 
a  replica  of  the  original  one  given  December 
7th,  1842.  There  was  an  In  Memoriam  note 
in  the  concert  programme  November  16th, 
1895,  to  commemorate  the  death  of  William 
Scharfenberg  (August  8th,  1895).  He  was 
born  in  Germany  in  1819.  Mr.  Scharfenberg 
was  one  of  the  original  spirits  in  the  founding 
of  the  Society  in  1842. 

Emil  Paur  was  nominated  to  fill  the  position 
left  vacant  by  Anton  Seidl.  From  the  fifty- 
seventh  to  the  sixtieth  season  (1898-1902)  his 
forceful  personality  and  broad  style  of  con- 
ducting aroused  general  interest  and  made  for 
him  an  army  of  admirers;  also  severe  critics. 
Equally  at  home  in  the  opera  house,  the  former 
conductor  of  the  Boston  Symphony  Orchestra 
brought  something  of  the  dramatic  atmosphere 
into  the  concert  room.  In  the  music  of  such 

18 


modern  composers  as  Tchaikovsky  and  Strauss 
he  was  conceded  to  be  at  his  best.  Emil  Paur 
is  a  name  that  will  be  always  associated  in  the 
American  chronicles  of  the  Strauss  composi- 
tions. He  was  especially  effective  in  his  read- 
ings of  "Zarathustra,"  "Till  Eulenspiegel," 
and  "Ein  Heldenleben." 

The  principal  novelties  brought  forward  by 
The  Philharmonic  Society  during  Mr.  Paur's 
term  of  office  were  as  follows:  "Impressions 
dTtalie,"  Suite  for  Orchestra  Gustave  Char- 
pentier  (December  17th,  1898) ;  Symphonic 
Prologue  to  Heine's  Tragedy  "William  Rat- 
cliff"  op.  6,  F.  Van  der  Stucken  (December 
9th,  1899);  "Ganymed,"  for  contralto  voice 
and  orchestra,  Louis  V.  Saar  (January  27th, 
1900)  ;  Symphonic  Poem,  "Ein  Heldenleben," 
op.  40,  Richard  Strauss  (December  8th, 
1900)  ;  Symphony  No.  1,  in  E-major,  op.  14, 
Joseph  Suk  (November  17th,  1900) ;  Sym- 
phonic Poem,  "Barbarossa,"  Siegmund  von 
Hausegger  (November  16th,  1901) ;  Dramatic 
Tone  Poem,  "The  Sisters,"  for  contralto  voice 
and  orchestra,  op.  11,  Richard  Burmeister 
(January  llth,  1902) ;  Legend  for  Orchestra, 
"Lemminkainen  Journeys  Homeward,"  Jean 
Sibelius  (February  1st,  1902) ;  Love  Scene 
from  "Feuersnot,"  Richard  Strauss  (February 
16th,  1902)  ;  "Friedenerzahlung,"  from  "Gun- 
tram,"  Richard  Strauss  (April  5th,  1902) ; 
Henry  Hadley's  Symphony  No.  2,  in  F-minor, 
"The  Four  Seasons,"  op.  30,  must  be  added  to 
the  above  list  of  novelties.  It  was  played  De- 
cember 21st,  1901,  and  was  the  prize  winner 

19 


of  two  competitions :  one  offered  by  I.  J.  Pade- 
rewski,  the  other  by  the  New  England  Con- 
servatory, Boston.  Mr.  Paur  also  introduced 
Humperdinck's  "Moorish  Rhapsody,"  Bind- 
ing's Violin  Concerto,  and  a  Concerto  for  Vio- 
lincello  by  Eugen  d' Albert.  On  November 
16th,  1901,  there  was  an  In  Memoriam  note 
for  Thomas  Masters  Markoe,  M.D.,  who  died 
August  26th,  1901.  Dr.  Markoe  was  one  of 
the  earliest  subscribers  to  the  Society's  con- 
certs, 1842,  and  for  fifty-nine  years  following. 

Mr.  Walter  Damrosch,  the  distinguished 
son  of  a  distinguished  sire,  the  late  Leopold 
Damrosch  (and  conductor  of  the  Society  dur- 
ing its  thirty-fifth  season,  1876-1877)  became 
conductor  for  the  sixty-first  season,  1902-1903. 
His  programmes  revealed  catholicity  in  taste. 
He  introduced  such  novelties  as:  Symphonic 
Prelude  in  E-flat  major,  op.  8,  No.  1,  R. 
Castani  (November  18th,  1902) ;  and  Cesar 
Franck's  "Psyche,"  (January  31st,  1903). 

Now  comes  a  veritable  roll-call  of  con- 
ductors, all  visitors  from  abroad  save  Victor 
Herbert.  From  the  sixty-second  to  the  sixty- 
fourth  seasons  (November,  1903,  to  March, 
1906,)  the  Society  invited  world  famous  con- 
ductors. It  was  interesting  experiment,  and  it 
enabled  the  subscribers  to  become  acquainted 
with  the  personalities  and  methods  of  such 
musicians  as:  Edouard  Colonne,  Gustav  F. 
Kogel,  Henry  J.  Wood,  Victor  Herbert,  Felix 
Weingartner,  W.  Safonoff,  Richard  Strauss, 
Karl  Panzner,  Willem  Mengelberg,  Max 
Fiedler,  Ernst  Kunwald,  and  Fritz  Steinbach. 

20 


Thus,  France,  England,  Ireland,  Germany, 
Austria,  Russia,  and  Holland  were  represented ; 
America  too,  in  the  person  of  Victor  Herbert, 
who  born  in  Ireland  and  musically  educated  in 
Germany,  is  an  American  citizen. 

The  novelties  of  the  three  seasons  were : 
Suite  in  F,  for  Violoncello  and  Orchestra,  op. 
28,  Bruno  Oscar  Klein  (December  19th, 
1903) ;  Symphonic  Poem,  "Hero  and  Leander," 
op.  33,  Victor  Herbert  (January  30th,  1904) ; 
Symphony  No.  6,  in  C-minor,  op.  58.  Alex- 
ander Glazounow  (January  7th,  1905) ;  the 
commentater  on  the  programme  noted  that  this 
was  the  third  time  the  name  of  Glazounow  had 
appeared  in  the  Socety's  concerts:  1898,  1904, 
being  the  previous  occasions;  Symphony  No. 
2,  in  E-flat  major,  op.  29,  Felix  Weingartner 
(February  llth,  1905). 

The  system  of  engaging  guest  conductors 
was  abandoned  in  1906,  and  Wassily  Safonoff, 
a  Russian  conductor  of  audacious  methods, 
was  at  the  head  of  the  Society  from  the  sixty- 
fifth  to  the  sixty-seventh  seasons  (November 
1906,  to  March  27th,  1909).  Among  others, 
his  contributions  to  the  novelty  list  were :  Con- 
certo in  D-Minor,  for  Violin,  op.  47,  Jean  Si- 
belius (December  1st,  1906)  ;  Symphony  No.  1, 
in  E-major,  op.  26.  Alexander  Scriabine,  (De- 
cember 14th,  1907)  ;  "The  Sunken  Bell,"  Sym- 
phonic Poem,  Vladimir  Metzl  (February  8th, 
1908)  ;  "Salome,"  Tone  Poem  for  full  orches- 
tra, op.  55,  Henry  Hadley  (November  28th, 
1908) ;  Tone  Poem  "In  Memoriam,  Abraham 
Lincoln,"  Fritz  Stahlberg  (February  13th, 

21 


1909)  ;  there  was  also  an  entire  programme 
devoted  to  Mendelssohn  (January  30,  1909) 
in  commemoration  of  the  100th  anniversary  of 
his  birth  year  (1809). 

The  services  of  Gustav  Mahler,  celebrated 
conductor  and  composer,  were  secured  for  the 
sixty-eighth  and  sixty-ninth  seasons.  The  nov- 
elties were  the  followng:  "L'Apprenti  Sor- 
cier,"  Dukas  (November  1909) ;  Symphony 
No.  1,  in  D-major,  Gustav  Mahler  (December 
1909) ;  Orchestral  Suite,  "Turandot,"  Ferru- 
cio  Busoni  (March  10th,  1909) ;  Overture  to 
"Das  Christelflein,"  Hans  Pfitzner  (March 
30,  1910) ;  Concerto  No.  3,  in  D-Minor,  for 
Pianoforte,  op.  30,  Sergei  Rachmaninoff  (Jan- 
uary 16th,  1910) ;  Suite  Burlesque,  Busoni 
(March  10th,  1910);  there  were  also  all- 
Richard  Wagner  and  all-Tchaikovsky  pro- 
grammes during  the  season.  In  addition  to 
conducting  Debussy's  "L'Apres  midi  d'un 
Faune,"  Mahler  also  produced  "Rondes  de 
Printemps"  by  this  French  composer;  and  his 
"Iberia"  (January  3rd,  1911).  The  Suite  by 
Georges  Enesco;  names  on  the  same  pro- 
gramme were :  Overture  to  "Das  Katchen  von 
Heilbronn,"  Pfitzner  (January  1911);  "The 
Devil's  Vilanelle,"  op.  9,  Charles  Martin  Loeff- 
ler  (February  14th,  1911).  On  this  pro- 
gramme was  the  Irish  Symphony,  op.  28, 
Charles  Villiers  Stanford.  Mr.  Mahler,  owing 
to  the  malady  which  was  later  the  cause  of  his 
death,  did  not  conduct  the  last  seventeen,  or 
over  one-fourth  of  the  total  number  of  con- 
certs given  during  this  season.  His  place  was 

22 


temporarily  taken  by  the  concert-master, 
Theodore  Spiering. 

It  would  not  be  amiss  now  to  glance  at  some 
important  changes  made  in  the  working  sys- 
tem of  the  Society.  At  the  beginning  of  the 
season  of  1906  it  was  decided  to  change  the 
title  of  the  Friday  afternoon  performances 
from  "Public  Rehearsals"  to  "Afternoon  Con- 
certs." They  had  long  ceased  to  be  considered 
as  rehearsals  by  the  public,  or  by  the  Society, 
and  the  Prospectus  of  that  year  announced  that 
"Sixteen  concerts  will  be  given,  eight  Friday 
afternoons,  and  eight  Saturday  evenings." 

With  the  sixty-eighth  season  (1909),  began 
a  new  order  in  the  affairs  of  the  Society.  The 
Society  was  then  composed  of  Actual,  Honor- 
ary, and  Honorary  Associated  Members,  and 
until  this  time  the  operations  of  the  organiza- 
tion had  been  conducted  on  a  co-operative  basis 
by  the  Actual  Members.  The  administration 
was  in  the  hands  of  a  Board  of  Directors, 
chosen  from  these  members,  who  transacted 
all  business,  and  the  financial  responsibility 
and  pecuniary  benefit  was  shared  on  an  equal 
basis  by  the  Actual  Members. 

The  profits  derived  from  the  concerts  had 
never  been  sufficient  to  permit  the  members  to 
devote  all  of  their  time  to  the  work  of  the  So- 
ciety and  they  were  obliged  to  extend  their 
activities  to  other  fields,  more  remunerative  if 
less  artistic.  This  was  known  to  many  patrons 
of  the  Society,  and  in  that  year  a  number  of 
friends  of  the  Society,  headed  by  Mrs.  George 
R.  Sheldon  and  Mrs.  W.  H.  Draper,  met  to 

23 


discuss  the  possibility  of  raising  a  fund  to  place 
the  Philharmonic  on  a  more  satisfactory  basis. 
A  committee  was  formed,  which  framed  a 
proposition  for  reorganization,  which  was  sub- 
mitted to  The  Philharmonic  Society.  Its  pro- 
visions were  briefly  as  follows :  The  orchestra 
to  be  under  the  exclusive  and  absolute  direction 
of  a  competent  conductor,  the  members  of  the 
orchestra  to  devote  their  entire  time  to  its  work 
for  a  period  of  at  least  twenty-three  weeks  each 
year,  for  which  they  should  receive  a  stated 
salary.  The  corporate  form  of  the  Society  to 
be  retained.  The  management  of  the  Society 
to  be  placed  entirely  in  the  hands  of  those  fin- 
ancially responsible;  certain  persons,  to  be 
known  as  guarantors,  having  pledged  them- 
selves to  make  good  any  deficit.  These  condi- 
tions were  to  continue  for  the  ensuing  three 
years.  The  Society  accepted  this  proposition 
and  a  reorganization,  to  conform  with  the 
terms  of  the  proposal,  was  at  once  inaugurat- 
ed; placing  the  Society  on  a  basis  of  financial 
backing  which  permitted  a  call  on  the  exclusive 
services  of  its  members  and  allowed  the  experi- 
ment of  broadening  considerably  the  sphere  of 
its  musical  influence  geographically. 

The  season  of  1909-1910  gave  much  satis- 
faction because  of  its  artistic  results.  The 
orchestra  had  been  trained  to  a  high  degree  of 
efficiency  by  Mahler,  and  it  was  proposed  that 
during  the  next  season  the  number  of  concerts 
in  the  city  and  on  tour  would  be  raised.  Since 
then  The  Philharmonic  Society  has  gradually 
extended  its  activities  until  now  the  members 

24 


of  its  orchestra  devote  practically  all  of  their 
time  to  the  work  of  the  organization.  Re- 
hearsals are  held  daily  during  the  season  and 
about  fifty  concerts  are  given  by  the  Society 
in  New  York  and  Brooklyn,  in  addition  to 
which,  tours  including  more  than  thirty  cities, 
are  made  each  season. 

A  word  of  the  warmest  praise  should  here 
be  bestowed  on  Mrs.  George  R.  Sheldon,  whose 
unselfish  zeal,  whole-hearted  devotion,  and  in- 
spiring enthusiasm  in  the  interests  of  the  So- 
ciety during  its  most  critical  period,  proved  her 
a  true  friend  of  music  in  the  largest  sense  of, 
that  word. 

The  munificent  bequest  by  the  late  Joseph 
Pulitzer  (in  November  of  the  seventieth  sea- 
son, 1911)  was  a  source  of  gratitude  and  grati- 
fication to  the  Society  and  its  numberless 
friends.  The  will  provided  that  $500,000  be 
used  to  perfect  the  present  orchestra,  to  place 
it  upon  a  more  independent  basis,  to  increase 
the  number  of  concerts  in  the  city  at  reduced 
rates,  and  not  all  of  them  too  severely  classical 
programmes;  furthermore,  the  favorite  com- 
posers of  the  testator  are  to  be  given  hearings 
— Beethoven,  Wagner,  and  Liszt — and  the  will 
also  provides  for  an  additional  contingent  be- 
quest not  in  excess  of  $500,000,  so  that  in  the 
course  of  time  the  total  amount  should  reach 
$1,000,000. 

The  bequest  was  made  contingent  on  the  So- 
ciety becoming  a  membership  corporation  un- 
der the  laws  of  the  State  of  New  York,  repre- 
senting the  general  public  with  a  membership 
of  not  less  than  one  thousand  paying  dues. 

25 


Princely  as  was  this  gift,  and  instantaneous 
as  was  the  response  of  the  Society  and  its 
friends,  the  total  income  is  still  insufficient  to 
meet  the  annual  deficit,  notwithstanding  the 
most  liberal  patronage.  It  is  therefore  well  at 
this  juncture  to  correct  a  wide-spread  impres- 
sion that  the  Society  is,  thanks  to  the  munifi- 
cent Pulitzer  bequests,  no  longer  in  need  of  aid. 
This  is  erroneous.  The  reverse  is  the  truth. 
Despite  the  increased  receipts  from  concerts  up 
to  the  present  season  and  also  the  marked  in- 
crease in  current  subscriptions,  The  Philhar- 
monic Society  is  still  facing  a  future  deficit 
unless  helped  now.  This  season's  series  of 
concerts  was  undertaken  only  after  the  Board 
of  Directors  had  guaranteed  a  fund  of  $60,000 
to  meet  a  possible  deficit.  As  President  Os- 
wald Garrison  Villard  so  earnestly  phrases  it : 
"There  is  much  at  stake, — the  future  of  Amer- 
ica's oldest  orchestra,  which  has  made  the 
greatest  contribution  to  the  orchestral  art  on 
this  side  of  the  Atlantic;  and  with  which  is 
bound  up  in  considerable  degree  the  cause  of 
music  in  New  York." 

On  Thursday  evening,  November  2nd,  1911, 
a  new  conductor,  Josef  Stransky,  appeared  at 
Carnegie  Hall  and  in  a  programme  consisting 
of  Beethoven's  "Eighth"  Symphony,  Liszt's 
"Tasso"  and  the  Prelude  to  "Die  Meister- 
singer"  proved  his  musical  mettle.  This  young 
man,  Bohemian  born,  after  his  musical  career 
in  Europe  has  repeated  his  successes  in  Amer- 
ica. In  addition,  he  has  greatly  grown  in  artis- 
tic stature  since  his  advent.  The  Philharmonic 


26 


Orchestra  under  his  baton  plays  with  brilli- 
ancy, buoyancy,  tonal  beauty  and  a  sweep  equal 
to  any  other  contemporary  organization  in  the 
world.  Mr.  Stransky,  while  particularly  happy 
in  modern  music,  Brahms,  Liszt,  Tchaikovsky, 
Strauss  and  the  rest,  is  too  eclectic  in  his  tastes 
to  miss  the  significance  of  the  classics.  He 
knows  that  the  fundamental  object  of  the  So- 
ciety is  the  performance  of  the  symphonic 
masterpieces,  and  the  record  of  his  concerts 
show  his  own  personal  love  for  them.  It  need 
hardly  be  added  that  Mr.  Stransky's  personal 
popularity  with  his  audiences  was  marked 
from  the  beginning.  And  it  shows  no  sign  of 
abating. 

He  has  a  goodly  share  of  novelties  to  his 
credit.  The  principal  ones  are  given  here: 
Glazounow  Concerto  for  Violin,  A-minor,  op. 
82,  (November  2nd,  1911);  Symphony  No.  3, 
in  E-major,  op.  49,  Felix  Weingartner  (De- 
cember 28th,  1911);  Tone  Poem,  "In  a  Sum- 
mer Garden,"  Fritz  Delius  (January  25th, 
1912)  ;  Variations  on  a  Merry  Theme,  op.  100, 
Max  Reger  (February  1st,  1912)  ;  Concerto 
for  Pianoforte  and  Orchestra,  in  D-minor, 
George  Frederick  Boyle  (February  8th,  1912)  ; 
"Consalvo,"  Symphonic  Poem,  Nicola  Laucella 
(November  26th,  1911);  Overture  to  Bruder 
Lustig,  Siegfried  Wagner  (January  21st, 
1912)  ;  Two  Symphonic  Pieces,  J.  Van  der  Pals 
(December  17th,  1911);  A  Merry  Overture, 
op.  53,  Weingartner  (November  14th,  1912); 
"Overture  in  Bohemia,"  op.  28,  Henry  Hadley 
(November  17th,  1912)  ;  Concerto  in  Old  Style, 

27 


op.  123,  Reger;  Three  Songs,  orchestrated  by 
the  composer,  Richard  Strauss  (November 
19th,  1912,  at  a  private  concert  for  annual  mem- 
bers given  in  the  ball  room  of  the  Waldorf- 
Astoria)  ;  Overture  to  a  Play,  op.  4,  Erich 
Korngold  (November  28,  1912);  Rhapsody 
for  Clarinet  and  Orchestra,  Claude  Debussy 
(December  12th,  1912) ;  Two  Symphonic 
Songs  with  Orchestra,  "Moonrise,"  "Requiem" 
Josef  Stransky  (February  27-28,  1913); 
Scherzo  Sinfonico,  op.  28,  Fritz  Stahlberg 
(March  6th,  1913);  Festival  Prelude,  op.  61, 
Richard  Strauss  (November  13th,  1913) ;  Bal- 
let Suite,  op.  130,  Max  Reger  (November 
20th,  1913) ;  Symphonic  Etude,  "The  Hunt  of 
Price  Arthur,"  J.  Guy  Ropartz  (February  12th, 
1914). 

During  the  seventy-third  season  these  were 
the  chief  novelties:  "Fireworks,"  Stravinsky 
(October  29th,  1914)  ;  Tone  Poem,  "Lucifer," 
Henry  Hadley  (November  19th,  1914)  ;  Sym- 
phony No.  4,  C-major,  Ropartz  (November 
27th,  1914)  ;  Sinfonietta,  op.  5,  Korngold  (De- 
cember 10th,  1914)  ;  Four  character  Pieces,  op. 
48,  Arthur  Foote  (January  24th,  1915)  ;  Suite, 
op.  9,  for  Orchestra,  Sigismond  Stojowski 
(February  5th,  1915) ;  Endymion,  Suite  No.  1, 
Arthur  Hinton  (February  7th,  1915)  ;  Medita- 
tion for  Strings,  Henry  Burck  (January  31st, 
1916). 

For  the  seventy-fourth  season  the  novelty 
list  is  as  follows:  Variations  and  Fugue  for 
Orchestra  on  a  Theme  by  Mozart,  op.  132, 
Max  Reger  (October  28th,  1915)  ;  Symphonic 

28 


Poem,  "Pelleas  and  Melisande,"  Arnold 
Schoenberg  (November  18th,  1915);  Sym- 
phonic Cycle,  "My  Country,"  Friedrich  Smeta- 
na  (December  16th,  1915;  first  performance  in 
America  of  the  complete  cycle)  ;  Concerto  for 
Violin,  D-minor,  Edmund  Severn  (January 
7th,  1916)  ;  Idyll  for  Orchestra,  "At  Evening," 
op.  39,  Sdenko  Fibich  (January  20th,  1916) ; 
Suite  for  Orchestra,  op.  33,  Stahlberg  (Feb- 
ruary 4th,  1916)  ;  Two  Sketches  for  Orchestra, 
op.  37,  A.  Walter  Kramer  (February  27th, 
1916) ;  Orchestral  Fantasy,  Seth  Bingham 
(February  6th,  1916)  ;  Concerto  for  Pianoforte, 
C-minor,  Delius  (November  26th,  1915) ; 
minor,  Delius  (November  26th,  1915) ; 
"Nymphs  of  the  Ocean,"  Tone  Poem,  Jean 
Sibelius  (December  9th,  1915);  Symphonic 
Poem,  "Launcelet  and  Elaine,"  op.  25,  E.  A. 
MacDowell  (October  28th,  1915).  On  Thurs- 
day evening,  October  26th,  1916,  the  new  sym- 
phony "Alpine"  of  Richard  Strauss  was  given 
for  the  first  time  in  New  York.  Symphony 
No.  2,  D-major,  Sibelius  (December  14th, 
1916). 

The  foregoing  list  of  novelties  played  by  the 
Society  does  not  pretend  to  be  more  than  a 
grouping  of  those  most  significant.  Need  we 
add  that  the  young  blood  in  the  organization 
is  a  perennial  guarantee  against  hide-bound 
conservatism? 

During  its  long  existence  The  Philharmonic 
Society  has  offered  its  audiences  only  the  best 
in  the  literature  of  music,  and  irrespective  of 
periods  or  nationalities.  From  1842  to  1917  it 

29 


has  enjoyed  an  unbroken  series  of  artistic  tri- 
umphs, and,  as  a  climax  to  its  seventy-fifth 
anniversary,  it  needs  but  a  home  of  its  own,  a 
home  that  it  can  name — Philharmonic  Hall. 


30 


II 

The  unit  in  modern  music  is  neither  the 
voice  nor  single  instrument,  nor  yet  the  music- 
drama,  with  its  ambitious  attempt  at  a  syn- 
thesis of  the  seven  arts;  but  the  orchestra, 
many-voiced,  unity  in  multiplicity.  In  the  ulti- 
mate analysis  it  is  the  orchestra  that  most  elo- 
quently voices  the  musical  ideals  of  our  time, 
for  music  is  the  allegorical  art  par  excellence ; 
it  indirectly  evokes;  and  in  the  symbolism  of 
tones  may  be  discovered  a  metaphysical  speech 
without  words.  Music  has  been  described  as 
"an  order  of  mystic  sensuous  mathematics." 
A  sounding  mirror,  an  aural  mode  of  motion, 
it  addresses  itself  on  the  formal  side  to  the  in- 
tellect; in  its  content  of  expression  it  appeals 
to  the  emotions.  The  vaguest  of  arts  in  repre- 
senting the  concrete,  it  is  the  swiftest  agent  for 
assulting  the  sensibilities.  Music  and  beauty 
are  synonymous.  Their  form  and  substance 
are  indivisible.  The  orchestra  is  the  profound- 
est  interpreter  of  our  profoundest  ideas  and 
feelings.  It  is  the  new  church  of  an  ancient 
and  venerated  religion,  the  religion  of  art. 

The  orchestra  is  a  commanding  factor  in  the 
aesthetic  life  of  a  community.  Absolute  music 
makes  its  appeal  to  the  finest  musical  sensibil- 
ity. Without  the  pomp  and  splendor  of  grand 
opera,  devoid  of  such  factitious  concomitants 
as  the  fashion  and  favor  of  the  hour,  the  or- 


chestra  can  interpret  in  less  than  an  hour  the 
tragic  intensity  of  the  music-drama  com- 
bined with  the  formal  severity  of  the  symphony. 
It  is  at  once  vox  dei  and  vox  populi.  It  is  a 
sounding  symbol  of  the  democratic  state  and  a 
highly  developed  individualism.  Egoism  and 
collectivism,  mutually  repellant,  are  dissolved 
in  a  magnificent  synthesis.  Caste  is  abolished ; 
yet  the  orchestra  is  the  most  aristocratic  of  in- 
struments ;  it  represents  multitude  and  it  is  the 
product  of  personality.  If  the  string-quartet 
is  like  an  easel-picture,  then  the  orchestra  may 
be  called  a  vast  and  passionate  fresco.  It  is 
international.  And  within  its  confines  the  soul 
of  a  nation  may  be  painted.  The  psychology 
of  mankind  was  incomplete  till  the  orchestra 
delineated  his  joys  and  woes.  Such  an  adapt- 
able and  many-sided  medium  is  it  that  it  is 
stranger  to  no  mood,  inhospitable  to  no  utter- 
ance. From  Bach  to  Debussy  it  can  sing  or 
suggest.  Music,  the  most  suggestive  of  the  arts, 
is  more  at  home  in  the  orchestra  than  in  the 
opera-house.  As  intimate  and  lyric  as  the  lied, 
the  orchestra  is  also  the  Jupiter  Tonans  of  the 
musical  Olympus.  It  can  thunder  and  blast. 
It  can  sigh  like  a  Romeo  and,  as  in  a  magic 
mirror,  it  can  show  us  fairy  landscapes,  and 
the  darkest  crannies  of  the  heart.  The  human 
soul  is  a  dark  forest;  Tchaikovsky's  music  il- 
luminates both  soul  and  forest,  as  Stravinski's 
fireworks  light  up  the  sky  of  the  world.  The 
orchestra  is  the  latter-day  epic  in  action. 

And  when  we  say  orchestra  we  mean  The 
Philharmonic  Orchestra  of  New  York.    It  has 


32 


rivals  now  but  to  it  will  always  belong  the 
glory  of  having  been  the  first  adventurer  in  a 
strange  country.  The  history  of  the  Philhar- 
monic orchestra  is  the  history  of  music  in  Amer- 
ica. Let  there  be  no  ambiguity  in  this  state- 
ment. The  first  stone  cast  in  the  water  of  na- 
tional music-making,  the  tiny  repercussion  of 
the  initial  wave,  has  not  yet  exhausted  its  ever- 
widening  circles.  For  the  contemporaneous  ge- 
neration of  music-lovers  the  names  of  Carl 
Bergmann,  Theodore  Thomas  and  Anton  Seidl 
are  perhaps  proud  memories,  but  names  with- 
out their  primal  significance.  We  oldsters  who 
grew  up  within  their  potent  influence  know  the 
indebtedness  we  owe  to  the  Society  and  to  these 
conductors.  The  present  writer  cannot  go  so 
far  back  as  the  days  of  Bergmann,  but  to  Mr. 
Thomas  he  owes  his  first  introduction  to  the 
enchanted  realm  of  symphonic  music.  Thomas 
knew  his  audiences,  felt  the  temper  of  his  time. 
He  did  not  always  play  a  symphony  in  its  en- 
tirety, the  homeopathic  method  being  deemed 
by  him  as  more  expedient.  To  carry  his  audi- 
ences along  the  road  of  velvet  was  safer  than 
pulling  them  over  the  harmonic  dissonances  of 
the  New  Paths.  He  sometimes  gave  a 
Strauss  valse  as  a  final  fillip  to  a  programme; 
and  it  is  a  matter  of  history  that  one  of  his 
most  popular  numbers  was  an  orchestral  ar- 
rangement of  Schumann's  little  piece  for  the 
pianoforte,  "Traumerei." 

But  New  York  concert-goers  did  not  tarry 
long  in  the  half-way  house  of  music.  Complete 
symphonies,  symphonic  poems  and  composi- 

33 


tions  of  a  more  fantastic  character,  reached  the 
Society  with  the  ink  hardly  dry  on  their  pages. 
We  now  enjoy  all  the  novelties.  We  judge  the 
music  of  men  who  have  still  to  achieve  a  solid 
European  reputation.  We  hear  faultlessly  in- 
terpreted the  classics,  romantics,  the  symbol- 
ists, futurists  and  wild  men  of  music.  No 
bogie-man  has  yet  daunted  the  Society ;  hissed 
in  Europe,  Arnold  Schoenberg  was  here  lis- 
tened to  with  respect,  if  not  with  overwhelming 
approbation.  It  would  be  waste  of  time  to 
deny  the  accusation  that  the  Society  has  been 
hide-bound  in  the  matter  of  tradition.  The  So- 
ciety, while  adhering  to  the  rock-bottom  of  the 
classics,  has  welcomed  the  new,  has  tested  the 
novel.  That  of  late  years  some  concessions 
have  been  made  to  popular  taste,  to  good  taste, 
may  be  admitted.  Before  the  Pulitzer  bequest 
the  music  of  Liszt  was  much  played  and  still 
is  played,  but  then  Liszt  is  not  a  frivolous 
composer.  The  same  criticism  that  adjudges 
him  gaudy  and  superficial  welcomes  the  Hun- 
garian Dances  of  Johannes  Brahms,  charming 
excursions  into  the  Magyarland  of  musical  ro- 
mance. This  is  not  an  attempt  to  institute  com- 
parisons. Liszt  and  Brahms  are  in  style  and 
ideas  antipodal.  The  Society  long  ago  recog- 
nized that  variety  is  the  spice  of  art,  and  played 
Brahms  and  Liszt  with  equal  reverence  and  en- 
thusiasm. Nor  were  native-born  composers, 
MacDowell,  Parker,  Van  der  Stucken,  Huss, 
Foote,  Chadwick,  Templeton  Strong,  Hadley, 
Herbert  Loeffler,— to  mention  a  few—neglected. 

34 


The  programme  scheme  of  the  Society  is  al- 
ways catholic. 

Mr.  Pulitzer's  preferred  composers,  Beet- 
hoven, Wagner,  and  Liszt,  have  always  promi- 
nently figured  in  performance.  Beethoven  as 
a  matter  of  course.  Wagner  at  first  a  novelty, 
became  a  magnet.  All  the  overtures,  preludes, 
and  excerpts  were  introduced  by  Bergmann 
and  Thomas,  and  even  after  the  advent  of  the 
music  -  dramas  at  the  Metropolitan  Opera 
House  public  devotion  never  wavered.  Under 
Seidl  the  spell  was  more  irresistable.  And  to- 
day, after  the  more  exigent  demands  upon  our 
patience  by  actual  operatic  interpretations, 
we  are  beginning  to  enjoy  again  our  Wagner 
in  the  concert-room,  without  the  fuss  and  os- 
tentation of  the  footlights,  or  the  nerve-trying 
experience  of  mediocre  soloists.  This  is  arch- 
heresy,  we  know,  but  the  Wagnerian  music- 
drama,  a  lyric  epos,  is  built  upon  an  orchestral 
foundation.  Without  the  orchestra  Wagner  is 
inconceivable;  but  his  music  may  be  enjoyed 
in  concert  form,  particularly  enjoyed  when  the 
mind's  eye  is  able  to  recall  the  thrilling  situa- 
tions of  the  acted  drama.  Here,  again,  sugges- 
tion plays  a  marked  role. 

It  is  not  within  the  scope  of  this  Retrospect, 
skeletonized  for  the  friends  and  members  of 
The  Philharmonic  Society,  to  dwell  upon  the 
glorious  singers  and  virtuosi  whose  names 
appear  on  its  roster.  The  world's  most  fam- 
ous musicians  have  visited  New  York  with  the 
express  intention  of  playing  or  singing  in  com- 
pany with  the  Society.  Franz  Liszt  is  a  nota- 

35 


ble  exception;  but  Anton  Rubinstein  filled  his 
place,  and  the  music  of  the  great  Hungarian 
composer  has  been  more  than  represented;  his 
spirit  is  always  with  us.  A  volume  of  musical 
history  might  be  written  concerning  the  won- 
derful "guests"  of  the  Society  since  its  early 
beginning.  All  nationalities  would  have 
to  be  included,  for  there  is  no  such  thing 
as  map-music.  There  is  only  good  music. 
And  in  the  orchestra  itself  what  dis- 
tinguished artists  have  sat  and  still  sit,  and 
blended  their  personalities  with  their  col- 
leagues !  The  impact  of  so  many  different  con- 
ductors was  bound  to  leave  its  impress  on  the 
quality  of  the  Society's  performances.  Tech- 
nicians and  poets,  drillmasters  and  dramatic 
directors ;  conductors  with  one  composer  filling 
their  horizon;  conductors  endeavoring  to  net 
all  the  fish  in  the  symphonic  ocean ;  conductors 
who  rode  the  hobby  of  tonal  breadth,  and  those 
who  made  the  band  play  with  the  finesse  of  a 
Joseffy — these  and  others  have  dowered  this 
orchestra  with  the  gift  of  an  immediate  re- 
sponse to  all  styles,  schools,  and  eccentricities ; 
in  a  word,  with  versatility — there  is  but  one 
Philharmonic  Society. 


36 


THE  PHILHARMONIC  ORCHESTRA 

(IN  1917) 
JOSEF  STRANSKY,  CONDUCTOR. 


First  Violins 

Violas,  cont. 

Bass  Clarinet 

M.  Pilzer 

L.  Verona 

P.  Gentile 

Concertmeister 

F.  Landau 
F.  W.  Krafft 
N.  W.  Finkelstein 
F.  L.  Smith 

L.  Starzinski 
W.  Goeringer 

Violoncellos 
L.  Schulz 
E.  Bronstein 

Bassoons 
A.  Mesnard 
M.  Reines 
P.  Reines 

J.  Greenberger 

R.  Thrane 

Contra-Bassoon 

W.  Storch 

M.  Skalmer 

M.  Reines 

H.  Burck 
J.  Novak 

A.  Severn 
J.  Heindl 

Horns 

W.  Dorfman 

K.  Kirk-Smith 

X.  Reiter 

A.  W.  Zeiss 

R.  Reitz 

M.  Van  Praag 

M.  Hansen 

A.  Heindl 

J.  Heyer 

S.  Laendner 

C.  Wenzel 

M.  Laitner 

W.  Doenges 

R.  H.  Schulze 

F.  Ortman 
A.  Briglio 

Basses 
H.  Buldrini 

Trumpets 

L.  Manoly 

B.  Klatzkin 

Second  Violins 

A.  Kalkhof 

M.  Schlossberg 

F.  Lowack 

H.  Reinshagen 

M.  Welker 

W.  Schubert 

J.  Krausse 

Trombones 

A.  Kunz 

M.  Cherkasky 

M.  Falcone 

L.  Gatterdam 
R.  Baravalle 

J.  Zickler 
E.  Zickler 

Le  Roy  Haines 
E.  Gerhard 

E.  Walther 

Flutes 

L.  Hellman 

A.  Payer 

Tuba 

J.  Ingram 

N.  Laucella 

F.  Geib 

H.  Corduan 

H/-** 

E.  Wagner 

Tympani 

.  Glaser 
M.  Fleischfarh 
W.  Oscar 

Piccolo 
E.  Wagner 

A.  Friese 
Percussion 

G.  Laendner 

Oboes 

G.  Braun 

H.  Boewig 
G.  Wolf 

F.  De  Angelis 
P.  Kirchner 

T.  Wahle 
G.  Wolf 

Violas 

A.  Marchetti 

Harp 

J.  J.  Kovarik 
D.  Reggel 
S.  Van  Praag 
J.  M.  Laendner 

English  Horn 
A.  Marchetti 
Clarinets 

C.  Schuetze 
Organ  and  Celeste 
Wm.  H.  Humiston 
Librarian 

H.  Borodkin 

A.  Chiaffarelli 

H.  Boewig 

O.  Stahl 

H.  Christman 

Asst.  Librarian 

C.  E.  Leifels 

P.  Gentile 

E.  J.  Smith 

Assistant 

Conductor  —  Wm. 

H.  Humiston 

37 


OFFICERS  OF  THE  PHILHARMONIC  SOCIETY 

MR.  OSWALD  GARRISON  VILLARD  -                       -      President 

MR.  RICHARD  ARNOLD         -  Vice-President 

MR.  RUDOLF  E.  F.  FLINSCH  -                               Treasurer 

MR.  JAMES  D'W  CUTTING      -  Assistant  Treasurer 

MR.  FELIX  F.  LEIFELS        -  -       .Secretary 

Miss  ELLA  JANSSEN      -  -      Assistant  Secretary 


BOARD  OF  DIRECTORS 

Mr.  Richard  Arnold  Mrs.  William  Jay 

Mrs.  George  L.  Cheney  Mr.  Felix  F.  Lei f els 

Mr.  James  D'W  Cutting  Mr.  Ludwig  Manoly 

Mr.  Rudolf  E.  F.  Flinsch        Mr.  Nelson  S.  Spencer 
Mr.  Arthur  Curtiss  James         Mr.  Oswald  Garrison  Villard 
Mr.  Clarence  Mott  Woolley 


TRUSTEES 

Mr.  Richard  Arnold  Mr.  Rudolf  E.  F.  Flinsch 

Mr.  James  D'W  Cutting  Mr.  Nelson  S.  Spencer 

Mr.  Oswald  Garrison  Villard 


Felix  F.  Lei  f  els,  Manager 


38 


Ill 
Presidential  AcMress 

January  17,  1917 

Carnegie  Hall,  N.  Y. 

by 

Oswald  Garrison  Villard 

In  the  land  of  the  dollar  a  great  orchestra 
seventy-five  years  old  ?  The  assertion  is  at  first 
one  to  be  denied,  or  doubted  as  an  impossiblity, 
or  an  anachronism — at  best  a  queer  caprice  of 
fate  or  fortune.  But  fact  it  is.  Across  the  seas 
there  came,  borne  by  some  fortuitous  wind  of 
the  East,  pollen  of  musical  plants  abroad  to  fall 
here  upon  fertile  ground  in  the  early  eighteen- 
forties.  It  is  a  period  we  are  apt  to  pass  over 
as  a  dull,  dark  age  in  our  history.  The  Mexican 
War  had  not  yet  come  to  stain  its  pages  or  to 
foreshadow  the  breaking  of  a  far  greater  storm 
of  battle  to  shake  the  nation  to  its  foundations. 
It  was,  in  short  the  very  year  that  they  brought 
the  Croton  water  to  New  York  and  that  Charles 
Dickens  ventured  in  a  paddle-wheel  cockle-shell 
across  the  ocean  to  make  those  "American 
Notes"  that  stung  so  deeply  the  sensibilities  of 
his  hosts.  Upon  his  free-hand  canvas  he  painted 
New  York  as  a  city  of  three  worth-while 
theatres,  "excellent  hospitals  and  schools;  li- 
terary institutions  and  libraries  .  .  .  and 
charities  of  every  sort  and  kind,"  but  a  dirty 
city,  scavenged  only  by  the  pigs  that  thronged 
its  gutters;  and  ill-managed,  since  in  the  Five 
Points  human  misery  touched  its  lowest  ebb. 
For  all  that,  Dickens  wrote  of  Manhattan  that 
it  was  what  it  is  to  those  who  love  it  to-day: 
"The  beautiful  metropolis  of  America." 


And  in  this  setting  there  had  just  been  born, 
April  second,  1842,  simultaneously  with  the 
founding  of  the  Vienna  Philharmonic,  the 
third  of  the  great  modern  symphonic  or- 
chestras, the  Philharmonic  of  New  York,  fore- 
runner and  parent-tree  of  all  our  American 
orchestras;  a  society  which  should  and  must 
and  shall  endure  for  centuries  if  only  that 
thereby  men  may  be  minded  how  in  the  heydey 
of  our  clipper  trade,  when  the  crass  sinfulness 
and  prosperous  materialism  of  slavery  domi- 
nated our  nation  and  our  city,  here  in  New 
York  were  musicians  come  together  to  give  the 
highest  expression  to  one  form  of  the  most 
moving  of  the  arts.  There  was  no  royalty  to 
give  of  its  doles;  no  court  favorites  to  empty 
their  purses  in  lordly  patronage ;  no  upstanding 
figures  in  the  musical  world  to  give  the  initial 
impulse  or  to  lend  distinction ;  no  personal  tra- 
dition or  inspiration  of  Haydn,  or  Mozart,  or 
Beethoven,  or  Schubert,  as  at  Vienna ;  not  even 
a  single  Maecenas  to  grease  the  ways.  But 
launched  the  frail  venture  was,  a  Mayflower 
of  the  western  world  of  music,  and  as  little 
recking  the  immortality  to  come.  Half  Ameri- 
can, half  German  was  its  first  crew  and  until 
to-day,  similarly  manned,  it  has  steered  well 
its  course  through  calm  and  through  troubled 
seas.  Of  it  may  be  said  to-day,  as  on  its  fiftieth 
birthday,  that  it  is  "the  most  conspicuous,  dig- 
nified and  stable  musical  institution  in  the 
American  metropolis." 

How  is  it  that  this  society  has  lived  on  ?  Why 
has  it  been  able  to  survive  its  vicissitudes?  It 


40 


has  never  had  a  home  of  its  own ;  alas !  it  lacks 
one  to-day.  Its  members  cannot,  like  many  a 
learned  society  in  London,  throng  historic  halls 
recalling  the  events  of  long-gone  years  cele- 
brated within  those  same  walls.  No  long  array 
of  our  pictured  worthies  looks  down  upon  us 
out  of  the  past;  no  worn,  cloistered  stairways 
bid  us  place  our  feet  where  have  been  those  of 
vanished  generations.  There  are  no  groaning 
shelves  weighted  with  the  records  of  our  mem- 
bers gone  before.  We  have  no  vaults  to  fill  with 
the  music  of  yesteryears.  No  bronze  tablets 
commemorate  concertmasters  or  conductors  or 
directors  or  presidents,  and  yet  the  Philhar- 
monic still  lives  and  breathes. 

More  than  that,  behind  every  note  we  are 
hearing  in  this  hall  there  are  seventy-five  years 
of  the  Philharmonic — the  seventy-five  years 
that  transformed  Manhattan  from  a  little  river 
and  harbor  town  into  the  greatest  of  all  the 
imperial  cities.  Behind  every  concert  is  the 
long  list  of  concerts  that  links  us  directly  to 
the  past.  This  orchestra  could  not  divest  itself 
of  its  background  if  it  would;  somehow,  in 
some  fashion,  its  glorious  tradition  influences 
all  who  come  into  touch  with  it. 

It  makes  no  difference  that  this  setting  in 
which  we  move  to-night  is  comparatively  new ; 
that  of  all  the  instruments  that  speak  and  sing 
to  us  few  have  long  given  us  of  their  sweetness. 
It  is  of  no  import  that  there  is  not  a  name  on 
the  orchestra  list  to  bind  us  directly  to  those 
who  played  the  Fifth  Symphony  on  that  far- 
off  April  day.  These  our  artists  are  none  the 

41 


less  the  spiritual  and  musical  great-grand- 
children of  those  pioneers  of  1842  who  ever 
since  have  been  making  their  contribution  to 
the  city's  intellectual  power,  its  knowledge,  its 
culture,  its  wisdom.  They  wrote  the  first  move- 
ment in  the  Philharmonic  symphony  for  which 
we  are  concluding  another  to-night,  and  though 
they  wrote  in  the  Sturm  und  Drang  period  of 
our  Society,  theirs  is  a  movement  to  last — 
whatever  may  be  said  of  ours.  And  I,  for  one, 
cannot  stand  here  to-night  and  look  upon  our 
gifted  leader  and  not  recall  those  of  his  prede- 
cessors I  have  heard,  Leopold  Damrosch,  Theo- 
dore Thomas,  Anton  Seidl,  Mahler,  Safonoff 
and  all  the  rest  of  that  long  and  brilliant  line. 
Men  must  rewrite  their  most  sacred  faiths  if 
it  shall  be  said  that  such  leaders  as  these  died 
when  they  laid  down  their  batons ;  that  there  is 
no  such  thing  as  spiritual  heredity  and  no  com- 
pelling tradition  in  musical  art  save  where 
there  is  parchment  or  paper,  or  brass  or  stone, 
to  record  and  to  stimulate  laggard  memories 
of  the  past. 

Surely  the  humblest  who  ever  sat  at  Philhar- 
monic desks  have  their  share  in  this  celebration 
of  1917.  Their  names  are  not  all  recorded,  but 
if  there  is  deep  feeling  in  our  Jubilee  of  this 
week,  it  is  because  they  kept  the  sacred  fires 
alight ;  because  they  were  ready  to  toil  all  day, 
to  rehearse  long  hours  and  to  give  concerts  at 
night;  that  whether  the  profits  came  or  not, 
they  held  to  their  faith  as  Richard  Arnold,  con- 
certmaster  emeritus  and  honored  vice-presi- 
dent, has  kept  it  bravely  and  modestly  lo !  these 

42 


forty  years,  as  has  Felix  F.  Leifels,  our  ever 
faithful  musician-manager,  and  many  another. 
Adequately  to  describe  what  the  humbler 
players  have  done  for  us  I  must  borrow  a 
figure  from  one  who  is  an  orator  as  well  as  a 
magician  of  the  pianoforte,  Mr.  Paderewski: 
"For  them  the  bell  of  fame  never  tolled,  and  yet 
each  played  a  noble  part  in  that  each  built  his 
brick  into  that  glorious  edifice  which  is  grow- 
ing rapidly  into  an  American  temple  of  music 
commensurate  with  the  greatness  of  the 
greatest  of  republics."  In  the  memory  of  the 
rank  and  file  of  the  Philharmonic  and  for  their 
honor,  I  ask  your  grateful  thoughts  now.  Per- 
haps some  of  you  have  heard  our  orchestra 
play  that  trick  symphony  of  Haydn's  in  which, 
one  by  one,  the  musicians  blow  out  the  candles 
on  their  desks  and  quietly  steal  away  until  only 
the  conductor  and  a  violin  remain.  Were  it 
ever  to  come  to  pass  that  our  orchestra,  of 
which  we  are  today  so  justly  proud,  were  to 
dwindle  to  but  one  bench,  somehow  or  other  it 
would  be  the  Philharmonic  still,  robust,  modest 
though  conspicuous,  dignified,  able,  artistic, 
and,  to  the  last  man,  devoted  unselfishly  to 
the  musical  art. 

Devoted  unselfishly  to  the  musical  art !  There 
we  have  it ;  there,  if  you  ask  me,  lies  the  secret 
of  its  longevity,  of  its  high  artistic  standards, 
of  all  that  it  has  achieved.  For  remember  that 
for  sixty-seven  years  this  was  an  association 
of  artists  banded  together  in  the  spirit  of  the 
founders,  whose  object,  as  they  themselves 
stated  it,  was  the  "advancement  of  instru- 

43 


mental  music  and  for  producing  a  number  of 
concerts  each  year  of  a  much  higher  order  than 
had  ever  been  given  in  the  city."  You  see  that 
they  bound  themselves  to  do  better  each  winter, 
and  there  is  nothing  in  their  prospectus  to  in- 
dicate that  the  almighty  dollar  figured  at  all. 
So  in  the  years  that  followed  under  the  old 
organization  the  small  sums,  never  at  best 
much  over  a  paltry  $200,  that  the  musicians 
made  annually,  could  never  have  been  the  prize 
to  make  them  work  as  they  did.  It  was  art  and 
not  Mammon,  and  not  even  the  desire  for  fame 
that  led  them  on,  and  that  is  why  it  is  that  their 
successors  sit  on  this  stage  to-night,  and  why 
we  are  in  their  lasting  debt. 

If  to-day  the  organization  has  changed ;  if  it 
is  not  a  co-operative  group  of  artists  any  more, 
but  an  incorporated  society  whose  performers 
give  in  three  years  as  many  concerts  as  their 
predecessors  in  fifty,  it  is  still  the  art  that  con- 
trols and  not  the  box-office.  Still  the  desire 
rules  to  give  each  year  concerts  of  a  "much 
higher  order"  than  have  ever  been  given  be- 
fore. However  the  difficulties  in  the  way,  how- 
ever the  execution,  this  lamp  still  holds  out  to 
burn,  this  remains  the  goal.  If  only  we  could 
darken  this  hall,  lower  a  curtain  and  let  the 
cinematograph  throw  upon  the  screen  pictures 
of  the  musicianship  of  this  society  in  the  years 
that  have  fled!  Truly  those  would  be  moving 
pictures!  And  no  oddity  of  dress  or  custom 
could  conceal  the  artistry,  the  honest  purpose, 
the  genuine  inspiration  of  those  who  would 
appear  to  us. 

44 


But  if  we  were  to  pass  in  ghostly  review  to- 
night the  mute  presentments  of  all  who  have 
sat  at  the  desks  or  wielded  the  baton  it  would 
not  be  enough.  A  true  moving  picture  of  the 
past  would  hold  for  us  the  audiences  too — the 
solid  men  and  women  of  New  York  from  whom 
the  players  drew  their  inspiration  and  support. 
What  a  splendid  army  we  should  see!  How 
much  of  the  history  of  our  city  would  pass  be- 
fore us !  Perhaps  only  thus  could  we  properly 
appraise  the  civic  service  of  the  Philharmonic 
or  realize  the  paradox  that  if  it  is  true,  as  Mr. 
Krehbiel  has  written,  that  the  Philharmonic 
has  "created,  bred  and  educated  its  public," 
similarly  the  public  has  upreared  and  upheld 
its  orchestra.  If  we  could  but  unwind  this  spir- 
itual reel  of  the  past,  how  we  should  applaud 
certain  of  the  figures  as  they  marched  across 
the  film  of  time!  Such  men  and  women  as  H. 
C.  Timm,  for  fifteen  years  the  society's  presi- 
dent; R.  Ogden  Doremus,  Julius  Hallgarten, 
Mrs.  Francis  G.  Shaw,  the  devoted  mother  of 
an  American  hero  and  the  first  woman  to 
attend  our  rehearsals,  Joseph  W.  Drexel,  and 
in  later  years  two  note-worthy  figures,  Mrs. 
George  R.  Sheldon  and  Joseph  Pulitzer,  to 
whom  the  Philharmonic  is  in  everlasting  debt. 

For  it  was  they  who  at  critical  moments 
saved  the  orchestra  and  made  its  future  pos- 
sible. The  one,  of  humble  European  begin- 
nings, wrote  a  story  of  the  kind  that  is  Ameri- 
ca's pride — of  ability  coming  to  the  front  un- 
checked, unhampered  by  caste  or  prejudice, 
free  to  develop  in  fullest  measure  his  extraor- 

45 


dinary  gifts.  In  his  great  newspapers,  to  whose 
fearless  courage  and  absolute  independence 
the  America  public  is  in  such  debt,  lies  his  chief 
memorial;  but  here  in  the  Philharmonic  the 
name  of  the  benefactor,  Joseph  Pulitzer,  who 
willed  it  a  million  dollars,  will  not  be  forgotten 
— nor  the  courage  and  determination  with 
which  Mrs.  Sheldon  set  herself  to  the  over- 
coming of  every  obstacle,  and  with  many  others 
at  her  right  hand,  notably  Mrs.  William  H. 
Draper,  gave  the  society  new  life,  new  in- 
spiration, new  hope,  new  courage. 

If  such  figures  as  these  stand  out,  there  are 
many,  many  others  whose  names  we  should 
like  to  read  out,  did  time  permit.  They  would 
flit  rapidly  across  our  screen,  for  time  itself 
moves  but  little  less  quickly  than  the  creations 
of  the  cinematograph,  but  on  the  films  of  mem- 
ory they  are  forever  in  gratitude  recorded. 
Our  own  kin  should  many  of  us  see  among 
them,  for  belonging  to  the  Philharmonic  is 
truly  a  matter  of  father  and  son  and  mother 
and  daughter.  Moreover,  if  they  whom  the  ca- 
mera could  show  to  us  are  of  the  Philharmonic 
still,  in  the  woof  and  warp  of  the  inheri- 
tances they  left  will  also  be  found  woven  strains 
of  the  Philharmonic.  Could  they  but  speak  to 
us  they  would  surely  tell  first  of  what  this  or- 
chestra meant  to  them,  of  the  part  it  played 
in  their  education  and  in  their  lives.  They 
would  quicken  in  us  all  an  understanding  of 
what  this  noble  institution  has  done  with  its 
limited  resources  and  how  great  the  debt  the 
city  owes  it. 

46 


Surely  in  this  spirit  of  gratitude  we  of  the 
Philharmonic,  certain  of  our  past,  may  look 
forward  without  fear,  with  every  hope,  to  the 
films  that  the  future  is  so  quickly  to  unwind. 
And  as  they  unroll  may  they  surely  show  the 
home  of  our  own  for  which  we  long,  within 
which  we  may  shrine  for  the  centennials  to 
come  the  records  of  the  present.  Upon  some 
reel  there  must  be  other  patrons  to  give  to  this 
orchestra  the  foundations  it  needs — as  stable 
as  those  of  the  Metropolitan  Museum,  the  Mu- 
seum of  Natural  History,  the  Public  Library 
and  many  others,  not  one  of  which  can  lay 
claim  within  their  fields  to  sounder  cultural 
achievements  than  our  own. 

If  we  should  receive  such  a  home,  therein 
we  pledge,  men  shall  play  not  merely  for  them- 
selves, nor  for  their  city,  nor  yet  for  their 
country,  but  for  their  art,  as  heretofore.  A 
monument  to  what  has  been,  it  shall  also  be  a 
prophecy  of  what  is  to  come.  But  whatever  fate 
holds  in  store,  within  a  mighty  ocean  of  shim- 
mering, shining,  drifting  humanity,  this  or- 
chestra shall  stand  in  this  metropolis  a  beacon 
of  faith,  lighting  up  what  is  good,  casting 
shadows  about  what  is  counterfeit  or  base. 

To-day  let  no  one  forget  that  these  walls  a 
citadel  of  peace  enclose.  The  pitiful  waves  of 
sound  that  beat  across  oceans  moaning  of 
bloody,  unreasoning  death  pass  by  this  temple 
of  the  art.  No  echo  of  the  strife  without  can 
enter,  for  here  is  sanctuary  for  all  and  perfect 
peace.  Here  talent  nor  genius  knows  aught  of 
national  pride.  Herein  meet  citizens  of  one 

47 


world  to  acclaim  masters  of  every  clime.  No 
one  asks:  "Under  which  flag,  Bezonian?" — 
nor  cares;  for  musicians  who  play  and  musi- 
cians who  compose  are  one  in  devotion  to  their 
muse.  Before  genius  of  the  cleffs  no  prejudice 
lasts  long,  even  in  the  track  of  war.  Demo- 
cracy? Here  is  its  truest  home,  where  dwells 
no  caste,  no  rank,  where  are  no  honors  won 
save  fairly,  unaided,  and  by  light  of  day.  Here 
is  communion  of  the  soul,  unseared  by  strife, 
unsoiled  by  passion. 

For  our  appeal  is  to  the  best  and  never  to  the 
worst ;  to  what  is  divine  in  mankind  and  never 
to  the  vile  that  lies  just  underneath.  What  more 
patriotic  service  is  there  or  can  there  be  than 
this;  to  cling  to  the  ideal  come  what  may;  to 
stem  the  tide  that  floats  men  down  the  stream ; 
to  steer  them  against  it,  up  and  up  and  up,  to 
the  fairest  deeps,  the  noblest  reaches,  the  purest 
springs  ? 


48 


CARL  BERGMANN 


THEODORE    THOMAS 


ANTON    SEIDL 


WASSILY    SAFONOFF 


- 


GUSTAV   MAHLER 


JOSEF  STRANSKY 


IV 


COMPOSITIONS  PERFORMED  BY 

THE  PHILHARMONIC  SOCIETY  OF  NEW  YORK 

1892— During  the  Fifty-First  Season— 1893 

260th  to  271st  Concert 

ANTON   SEIDL  -  CONDUCTOR 


Performances  in 
New  York 

BEETHOVEN— S  y  m  p  h  o  n  y    No.    7,    in 

A-Major,  Op.  92  2 

Overture,  "Coriolanus,"  Op.  62  2 

Recitative  and  Aria  "Abscheulicher"  from 

"Fidelio"  2 

Concerto  in  D-Major,  Op.  61,  for  Violin 

and  Orchestra  2 

Concerto  No.  4,  in  G-Major,   for  Piano 

and  Orchestra  2 

BRUCH — Concerto   No.    1,   in   G-Minor,    for 

Violin  and  Orchestra  2 

DVORAK— Symphony  No.  1,  in  D-Major  2 

GILSON— Symphonic  Sketches,  "The  Sea"  2 

GODARD— Concerto  No.  2,  in  G-Minor,  for 

Violin  and  Orchestra  2 

GOLDMARK— Overture,  "Prometheus"  2 

KLUGHARDT— Symphony  in  C-Minor  2 

LAS  SEN — Concerto  for  Violin  2 

RUBINSTEIN— Scene    and    Aria,    "E    Dunque 

Ver?"  2 

SAINT-SAENS— Concerto   in  A-Minor,    Op. 

33,  for  Violoncello  and  Orchestra  2 

SCHUMANN— Symphony  No.  2,  in  C-Major, 

Op.  61 

Overture,  Scherzo  and  Finale,  Op.  52  2 

STRONG— Symphony  No.  2,  "Sintram"  2 

49 


TCHAIKOVSKY— Symphony    No.   5,   in   F- 

Minor,  Op.  36  2 

Sextuor  for  Strings  2 

WAGNER— Prelude,  "Lohengrin"  2 

Prelude  and  Liebestod  from  "Tristan  und 

Isolde" 

Prelude,  "Die  Meistersinger" 
Prelude  and  Glorification  from  "Parsifal" 


1893 — During  the  Fifty-Second  Season — 1894 
272nd  to  283rd  Concert 

ANTON  SEIDL  -  CONDUCTOR 


New  York 

BACH — Divertimento  (arranged  from  various 
Bach  works  by  Anton  Seidl  2 

BEETHOVEN— Symphony  No.  3,  in  E-flat 

Major,  Op.  55,  "Eroica"  2 

Symphony  No.  4,  in  B-flat,  Op.  60  2 

Overture,  "Leonore  No.  3,"  Op.  72  2 

BRAHMS— Concerto  in  D-Major,  Op.  77,  for 

Violin  and  Orchestra  2 

DVORAK — Symphony  No.  5,  in  E-Minor,  Op. 

95,  "The  New  World"  2 

Concerto  in  A-Minor,  Op.  53,  for  Violin 
and  Orchestra  2 

GLUCK— Aria  from  "Alceste"  ("Divinites  du 

Styx")  2 

HAYDN— Recitative    and    Aria    from    "The 

Creation."    (Now  furious  storms  .  .  .)       2 

HERBERT— Concerto  No.  2,  Op.  30,  for  Vio- 
loncello and  Orchestra  2 

KRUG— Symphonic  Prologue  to  "Othello"  2 

LISZT— Concerto  No.  1,  in  E-flat,  for  Piano 

and  Orchestra  2 

MENDELSSOHN— From  "A  Midsummer 
Night's  Dream,"  "Overture,"  "Noc- 
turne," and  "Scherzo"  2 

50 


NICODfi — Symphonic  Variations  2 
SCHUMANN— Symphony  'No.    3,    in   E-flat 

Major,  Op.  97  (Rhenish)  2 

SINDING— Symphony  in  D-Minor,  Op.  21  2 
TCHAIKOVSKY— Symphony   No.    5,    in   E- 

Minor,  Op.  64  2 
WAGNER— Wotan's  Farewell  and  Magic  Fire 

Scene  from  "Die  Walkure"  2 
Siegfried's   Death  and   Briinnhilde's    Self 

Immolation,    from    "Gotterdammerung"  2 

Siegfried  Idyll  2 

WEBER— Overture,  "Euryanthe"  2 

Aria  from  "Sylvana"  2 

1894 — During  the  Fifty-Third  Season— 1895 
284th  to  295th  Concert 

ANTON  SEIDL  -  CONDUCTOR 


New  York 

BACH — Fugue    in    A-Minor     (arranged    by 

Hellmesberger)  2 

BEETHOVEN— Symphony  No.  5,  in  C-Minor, 

Op.  67  2 

Symphony  No.  8  in  F-Major,  Op.  93  2 

Concerto  in  D-Major,  Op.  61,  for  Violin 

and  Orchestra  2 

BERLIOZ— Overture,  "King  Lear,"  Op.  4  2 

BRAHMS— Symphony    No.    4,    in    E-Minor, 

Op.  98  2 

BRUCH — Scotch  Fantasia  for  Violin  and  Or- 
chestra, Op.  46  2 
DVORAK— Symphony  No.  5,  in  E-Minor,  Op. 

95,  "The  New  World"  2 

Overture,  "Carneval"  2 

Overture,  "Nature"  2 

Overture,  "Othello"  2 

GOLDM ARK— Overture,  "Sakuntala,"  Op.  13      2 

Concerto  in  A-Minor,  Op.  28,  for  Violin 

and  Orchestra  2 

51 


HANDEL— Aria    from    "Samson"    (Let    the 

Bright  Seraphim   .    .    . )  2 

LISZT— Symphonic  Poem,  "Les  Preludes"  2 

MAC  DOWELL— Concerto  No.  2,  in  D-Minor, 

Op.  23,  for  Piano  and  Orchestra  2 

RAFF— Symphony  No.  5,  Op.  177,  "Lenore"          2 
RUBINSTEIN— Overture,   "Anthony  and 

Cleopatra,"  Op.  116  2 

SAINT-SAENS— Concerto  No.  3,  in  B-Minor, 

Op.  61  for  Violin  and  Orchestra  2 

SCHUBERT— Theme    and    Variations    for 

Strings,  from  the  Grand  Quartet  in  D- 

Minor  (Death  and  the  Maiden)  2 

TCHAIKOVSKY— Suite  No.  3,  in  G-Major, 

Op.  55  2 

Concerto  No.  1,  in  B-flat  Minor,  Op.  23 

for  Piano  and  Orchestra  2 

THOMAS— Grande    Scene    d'Ophelie,    from 

"Hamlet"  2 

WAGNER— Prelude,  "Lohengrin" 

Prelude,  "Die  Meistersinger"  2 

"Elsa's  Dream"  from  "Lohengrin"  2 


1895— During  the  Fifth-Fourth  Season— 1896 
296th  to  307th  Concert 

ANTON    SEIDL  ...  CONDUCTOR 


New  York 

BACH— Toccata  in  F-Major  (Esser) 

Brandenburg  Concerto,  No.  3,  in  G-Major      2 
BEETHOVEN— S  y  m  p  h  o  n  y    No.    7,    in 
A-Major,  Op.  92 

jor,  Op.  92  2 

Symphony   No.  9,   in  D-Minor,   Op.    125 

(Choral) 

Overture,  "Egmont" 

Menuetto    and    Allegro    Molto    (Fugue), 
from  Quartet  in  C-Major,  Op.  59,  No.  3      2 

52 


Concerto  No.  5,  in  E-flat,  Op.  73  ("Em- 
peror") for  Piano  and  Orchestra  2 
Scene  and  Aria,  "Ah  perfido"  2 

BRUCH— Concerto  No.  2,  in  D-Minor,  Op.  44, 

for  Violin  and  Orchestra  2 

CHADWICK— D  r  a  m  a  t  i  c  Overture,  "Mel- 
pomene" 2 

DVORAK— Symphony  No.  4,  in  G-Major,  Op. 

88  2 

Concerto  in  A-Minor,  Op.  53,  for  Violin 
and  Orchestra  2 

ELGAR— "My  love  dwelt  in  a  Northern  Land"      2 

HUM PERDINCK— Dream   Pantomime   from 

"Haensel  and  Gretel"  2 

LAMOND— Overture,  "From  the  Scottish 

Highlands,"  Op.  4  2 

MENDELSSOHN— Concerto  in  E-Minor,  Op 

64,  for  Violin  and  Orchestra  2 

MORLEY— "My  Bonny  Lass  She  Smileth"  2 

PARRY— Dream  Scene  from  "King  Saul"  2 

SCHUBERT— Symphony  in  C  (B.  &  H.  No. 

7;  programme  as  No.  9)  2 

SCHUMANN— Symphony    No.    1,    in    B-flat 

Major,  Op.  38  2 

TCHAIKOVSKY— Symphony   No.    1,   in   G- 

Minor,  Op.  13,  "A  Winter  Journey"  2 

WAGNER— Siegfried's    Death   and    Brimn- 
hilde's  Self  Immolation,  from  "Gotter- 

dammerung"  2 

Prelude  and  Glorification  from  "Parsifal"  2 

A  "Faust"  Symphony  2 
Songs  with  Orchestra: 

Schmerzen  2 

Traume  2 

Erwartung  2 


53 


1896— During  the  Fifty-Fifth  Season— 1897 
308th  to  319th  Concert 

ANTON  SEIDL  -  CONDUCTOR 


New  York 

BACH— Suite  No.  2,  in  B-Minor  2 

Sonata  in  E-Major  (Violin  and  Clavier, 
arranged  for  Orchestra  by  Theodore 
Thomas)  2 

BEETHOVEN— Symphony  No.  6  (Pastoral), 

Op.  68 

Overture,  "Leonore  No.  3"  2 

Concerto  in  D-Major,  Op.  61,  for  Violin 

and  Orchestra  2 

BORODINE— Symphony  No.  2,  in  B-Minor         2 
DVORAK— Overture,  "Husitzka,"  Op.  67  2 

Concerto  in  B-Minor,  Op.  104,  for  Violon- 
cello and  Orchestra  2 
GOLDMARK— Overture,      "Prometheus 

Bound,"  Op.  38  2 

HANDEL — Recitative  and  Aria,  "Deeper  and 
Deeper  Still"  and  "Waft  her,  Angels," 
from  "Jephthah" 
LISZT— A  "Faust"  Symphony 
MENDELSSOHN— Overture,  "Melusine"  2 

RUBINSTEIN— Symphony  No.  2,  in  C-Major, 

"Ocean"  2 

Concerto  No.  4,  in  D-Minor,  Op.  70,  for 

Piano  and  Orchestra  2 

SCHUBERT— Symphony  in  B-Minor,  "Unfin- 
ished" 2 
Theme  and  Variations  for  Strings,  from 
the  Grand  Quartet  in  D-Minor   (Death 

and  the  Maiden) 
Songs : 

"An  die  Musik,"  Op.  88,  No.  4 
"Auf  dem  Wasser  zu  singen,"  Op.  72 
"Aufenthalt"  2 

54 


"Der  Zweig,"  Op.  22,  No.  1  2 

"Du  bist  die  Ruh',"  Op.  59,  No.  3  2 

"To  Sylvia,"  Op.  106,  No.  4  2 
SCHUMANN — Symphony  No.  4,  in  D-Minor, 

Op.  120  2 
TCHAIKOVSKY— Symphony   No.   6,   in   B- 

Minor,  Op.  74,  "Pathetique"  2 
WAGNER— Duet,  from  "Flying  Dutchman," 

"Wie  aus  der  Ferae"  2 

Overture,  "Tannhaeuser"  2 
"Walther's    Prize    Song,"    from    "Die 

Meistersinger"  2 


1897— During  the  Fifty-Sixth  Season— 1898 
320th  to  335th  Concert 

ANTON   SEIDL  CONDUCTOR 

FRANK   VAN   DER   STUCKEN  -  -      CONDUCTOR 


New  York 

BACH — Prelude,  Choral  and  Fugue  (arranged 

by  Abert)  2 

BEETHOVEN— S  y  m  p  h  o  n  y  No.  2,  in 

D-Major,  Op.  36  2 

Symphony  No.  3,  in  E-flat  Major,  Op.  55, 

"Eroica"  2 

Symphony  No.  9,  in  D-Minor,  Op.  125, 

(Instrumental  movements  only)  2 

BRAHMS— Symphony  No.  2,  in  D-Major,  Op. 

73  2 

BRUCH— Concerto  No.  2,  in  D-Minor,  Op.  44, 

for  Violin  and  Orchestra  2 

CHERUBINI— Entr'  Acte  Music,  "Medea"  2 

DVORAK— Symphony  No.  5,  in  E-Minor,  Op. 

95,  "The  New  World"  2 

Concerto  in  A-Minor,  Op.  53,  for  Violin 

and  Orchestra  2 


55 


GLAZOUNOW— Symphony  No.  5,  in  B-flat 

Major  2 

GRIEG — Concerto   in   A-Minor,   Op.    16,    for 

Piano  and  Orchestra  2 

HUMPERDINCK— Overture     to    the     Play, 

"Die  Koenigskinder"  2 

Dream  Pantomime,  "Haensel  and  Gretel"        2 
HUSS,  Henry  Holden — Dramatic  Scene,  "Cleo- 
patra's Death"  2 
LALO— Concerto  in  D-Major  for  Violoncello 

and  Orchestra  2 

LISZT— Symphonic  Poem,  "Tasso"  2 

MAC  DOWELL— Suite  No.  2,  in  E-Minor, 

"Indian" 

MOZART — Symphony  in  G-Minor  2 

SCHUBERT-LISZT— Fantasia  for  Piano  and 

Orchestra,  in  C  -Major,  Op.  15  2 

SCHUMANN— Overture,  "Manfred,"  Op.  115      2 
TCHAIKOVSKY— Suite  No.  3,  in  G-Major, 

Op.  55  2 

WAGNER — Prelude    and    Liebestod    from 

"Tristan  und  Isolde"  2 

Prelude,  "Die  Meistersinger"  2 

Wotan's  Farewell  and  Magic  Fire  Scene 

from  "Die  Walkiire"  2 

Excerpts  from  "Der  Ring  des  Nibelungen" 

a.  Siegfried's   passing  through  the   fire 

after    his    encounter    with    Wotan 
(Siegfried)  2 

b.  Morning   Dawn  and   Rhine  Journey 

"Die  Gotterdammerung"    (arrange- 
ment by  Hans  Richter)  2 
Prelude  and  Glorification  from  "Parsifal"       2 
WAGNER,  Siegfried — S  y  m  p  h  o  n  i  c  Poem, 

"Sehnsucht"  2 

WE^ER— Overture,  "Euryanthe" 

Scene  and  Aria  from  "Euryanthe"  ("Wo 
berg'  ich  mich")  2 


56 


1898 — During  the  Fifty-Seventh  Season — 1899 
336th  to  351st  Concert 

EMIL  PAUR  -  CONDUCTOR 


New  York 

BACH— Suite  in  D-Major 

Passacaglia,  for  Orchestra  (Esser)  2 

BEETHOVEN— Symphony  No.  5,  in  C-Minor, 

Op.  67  2 

Symphony  No.  7,  in  A-Major,  Op.  92  2 

Symphony  No.  8,  in  F-Major,  Op.  93  2 

BERLIOZ — Fantastic  Symphony  No.  1,  in  C- 

Major,  Op.  14a  2 

Overture,  "Benvenuto  Cellini,"  Op.  23  2 

BRAHMS— Symphony  No.  1,  in  C-Minor,  Op. 

68  2 

Concerto  No.  2,  in  B-flat,  Op.  83,  for  Piano 

and  Orchestra  2 

Concerto  in  D-Major,  Op.  77,  for  Violin 

and  Orchestra  2 

Songs : 

"Die  Mainacht"  2 

"Meine  Liebe  ist  Grim"  2 

CHARPENTIER— Suite,    "Impressions    of 

Italy"  2 

CHOPIN— Concerto  No.   1,  in  E-Minor,  Op. 

11,  for  Piano  and  Orchestra  2 

DVORAK— Slavonic  Rhapsody  No.  3,  Op.  45      2 
FRANZ — "Aus    meinen    grossen    Schmerzen" 

(Song)  2 

"Gute  Nacht"  (Song)  2 

GLUCK— Aria,  "Oh,  del  mio  dolce  ardor" 

("Paride  ed  Elena")  2 

GRIEG — Concerto   in   A-Minor,    Op.    16,    for 

Piano  and  Orchestra  2 

LISZT— "Mephisto"  Waltz  2 

57 


MOZART — Theme  and  Variations  from  Di- 
vertimento in  D-Major  (Strings  and 
Horns)  2 

Cavatina    from    "Le    Nozze    di    Figaro" 

(Porgi  amor)  2 

Scene  and  Aria  of  Vitellia  from  "La  Clem- 

enza  di  Tito"  ("Ecco  il  punto")  2 

RAFF— Symphony  No.  3,  "Im  Walde"  2 

SAINT-SAENS — Aria    from    "Samson    and 

Dalila" — "Amour,  viens  aider"  2 

SCHUBERT— "Die  junge  Nonne"  (Song)  2 

"AndieLeier"  (Song)  2 

SCHUMANN— Symphony  No.  2,  in  C-Major, 

Op.  61  2 

Overture,  "Genoveva,"  Op.  81  2 

"Der  Hidalgo"  2 

SPOHR— Concerto  No.  7,  in  E-Minor,  Op.  38, 

for  Violin  and  Orchestra  2 

TCHAIKOVSKY— Symphony   No.   6,   in   B- 

Minor,  Op.  74,  "Pathetique" 
Fantasy  Overture,  "Romeo  and  Juliet"  2 

WAGNER— Overture,  "Tannhaeuser"  2 

Wotan's  Farewell  and  Magic  Fire  Scene 

from  "Die  Walkure" 
A  Faust  Overture 

Siegfried  Idyll  2 

WEBER— Scene  and  Aria,  "Wie  nahte  mir  der 

Schlummer,"  from  "Der  Freischiitz"  2 

1899— During  the  Fifty-Eighth  Season— 1900 
352nd  to  367th  Concert 

EMIL   PAUR  -  CONDUCTOR 


New  York 

BACH — Fugue  in  C-Major,  from  Sonata  No. 

5,  for  Violin  alone 
Fugue  in  A-Minor  (Hellmesberger)  2 

58 


BEETHOVEN— Symphony  No.  .4,  in  B-flat, 

Op.  60  2 

Overture,  "Coriolanus,"  Op.  62  2 

Overture,  "Leonore  No.  3,"  Op.  72  2 

BRAHMS — Symphony  No.  4,  in  E-Minor,  Op. 

98  2 

Variations  on  a  Haydn  Theme,  Op.  56a          2 
Concerto  in  D-Major,  Op.  77,  for  Violin 

and  Orchestra  2 

"Der  Friihling"  (Song)  2 

BRUNEAU— "L'heureux  Vagabond"  (Song)         2 
CHOPIN— Concerto  No.  2,  in  F-Minor,  Op. 

21,  for  Piano  and  Orchestra  2 

DVORAK— Symphony  No.  4,  in  G-Major,  Op. 

88  2 

FRANZ— "Er  ist  gekommen"  (Song)  2 

GLUCK — Aria  from  Orfeo,  "I  have  lost  my 

Eurydice"  2 

GOLDM  ARK— Overture,     "Prometheus 

Bound,"  Op.  38  2 

GUIRAUD — Caprice  for  Violin  and  Orchestra      2 
HUM PERDINCK— Moorish  Rhapsody  2 

LISZT — Concerto  No.  1,  in  E-flat,  for  Piano 

and  Orchestra  2 

MENDELSSOHN— Symphony  No.  3,  in  A- 

Minor  (Scotch)  2 

Overture,    from   "A   Midsummer   Night's 

Dream"  2 

RUBINSTEIN— Symphony  No.  2,  in 

C-Major,  Op.  42,  "Ocean"  2 

SAAR,  Louis  V. — "Ganymed" — for  Contralto 

and  Orchestra  2 

SCHUBERT— Symphony  in  B-Minor,  "Unfin- 
ished" 2 
"Der  Kreuzzug"  (Song)  2 
"Der  Atlas"  (Song)    '                                        2 
SCHUMANN — Symphony  No.  4,  in  D-Minor, 

Op.  120  2 

Concerto  in  A-Minor,  Op.  129,  for  Violon- 
cello and  Orchestra  2 
"Der  arme  Peter"                                               2 

59 


SINDING,   Christian — Concerto   in   A-Major, 

Op.  45,  for  Violin  and  Orchestra  2 
TCHAIKOVSKY— Symphony   No.    5,   in   E- 

Minor,  Op.  64  2 
Concerto  in  D-Major,  Op.  35,  for  Violin 

and  Orchestra  2 
"The  Cuckoo"  (Song)  2 
VAN     DER     STUCKEN— Symphonic     Pro- 
logue, "William  Ratcliff,"  Op.  6  2 
WAGNER— Overture,    "The    Flying    Dutch- 
man" 2 
Bacchanale,  "Tannhaeuser"  2 
Prelude,  "Lohengrin"  2 
Prelude  and  Liebestod  from  "Tristan  und 

Isolde"  2 

Waldweben,  from  "Siegfried"  2 

Prelude  and  Glorification  from  "Parsifal"  2 

WEBER— Overture,  "Der  Freischiitz"  2 

1900— During  the  Fifty-Ninth  Season— 1901 
368th  to  383rd  Concert 

EMIL  PAUR  -  CONDUCTOR 


New  York 

BACH— Toccata  in  F-Major  (Esser)  2 

BEETHOVEN— Symphony   No.   3,   in   E-flat 

Major,  Op.  55  "Eroica" 
Symphony  No.  6  (Pastoral),  Op.  68 
Overture,  "Egmont"  2 

Minuet  and  Finale  from  the  Quartet  in 

C-Major,  Op.  59,  No.  3  (Strings)  2 

Concerto  No.  5,  in  E-Flat,  Op.  73  ("Em- 
peror"), for  Piano  and  Orchestra  2 
Concerto  in  D-Major,  Op.  61,  for  Violin 

and  Orchestra  2 

BERLIOZ— Overture,  "Le  Carnaval  Remain," 
Op.  9 

60 


BRAHMS— Symphony  No.  3,  in  F-Major,  Op. 

90  2 

Festival  Overture,  "Academic,"  Op.  80  2 

BRUCH— Concerto   No.    1,   in   G-Minor,   Op. 

26,  for  Violin  and  Orchestra  2 

D' ALBERT— Concerto  in  C-Major,  Op.  20,  for 

Violoncello  and  Orchestra  2 

DVORAK— Symphony  No.  5,  in  E-Minor,  Op. 

95,  "The  New  World"  2 

GLUCK — Overture,     "Iphigeneia     in     Aulis" 

(Wagner  ending)  2 

HUSS,  Henry  Holden — Concerto  in  B-Major, 

for  Piano  and  Orchestra  2 

LOEWE— "Edward"  Ballad,  Op.  1,  No.  1  2 

MOZART— Overture,  "Magic  Flute"  2 

PARKER— "A  Northern  Ballad,"  Op.  46  2 

RIMSKY-KORSAKOFF— Concerto    in    B- 

Minor,  for  Violin  and  Orchestra  (Fan- 

tasie)  2 

SCHUBERT— "Hark!  Hark!  the  Lark,"  Op. 

posth.  (Song)  2 

SCHUMANN— Overture,  "Manfred,"  Op.  115      2 
"My  Soul  is  Dark,"  Op.  25,  No.  15  (Song)       2 
STRAUSS— Tone  Poem,  "Life  of  a  Hero," 

Op.  40  4 

"Hymnus,"  "Pilgers  Morgenlied,"  Op.  33, 

Nos.  3  and  4,  Songs  with  Orchestra  2 

SUK— Symphony  No.  1,  in  E-Major,  Op.  14  2 
SVENDSEN— Episode,  "Carnival  in  Paris"  2 
TARTINI— Sonata  for  Violin,  "The  Devil's 

Trill"  2 

TCHAIKOVSKY— Symphony    in    B  -  Minor, 

Op.  58,  "Manfred"  2 

Fantasia,  "Francesca  da  Rimini,"  Op.  32          2 
Variations  on  a  Rococo  Theme,   Op.  33 

(Violoncello) 
Concerto  No.  1,  in  B-flat  Minor,  Op.  23, 

for  Piano  and  Orchestra  2 

WAGNER— Prelude,  "Die  Meistersinger"  2 

Sach's  "Monologue,"  Wie  duftet  doch  der 

Flieder,"  from  "Die  Meistersinger"  2 

61 


"Ride  of  the  Valkyries,"  from  "Die  Wal- 

kiire"  2 

Wotan's  Farewell  and  Magic  Fire  Scene 

from  "Die  Walkiire"  2 

"Waldweben,"  from  "Siegfried" 
A  Faust  Overture  2 

WEBER— Overture,  "Oberon"  2 


1901— During  the  Sixtieth  Season— 1902 
384th  to  399th  Concert 

EMIL  PAUR          -  CONDUCTOR 


New  York 

BACH — Prelude,  Choral  and  Fugue  (arranged 

by  Abert)  2 

Concerto  No.  2,  in  E-Major,   for  Violin 

and  Orchestra  2 

BEETHOVEN— Symphony  No.  1,  in  C-Major, 

Op.  21 

Symphony  No.  5,  in  C-Minor,  Op.  67  2 

Symphony  No.  9,  in   D-Minor,   Op.    125 

(Choral)  2 

Overture,  "Leonore  No.  2,"  Op.  72 
Overture,  "Fidelio,"  in  E-Major,  Op.  72        2 
BRAHMS— Symphony  No.  1,  in  C-Minor,  Op. 

68  2 

BURMEISTER,    Richard— Dramatic    Tone 
Poem,  "The  Sisters,"  for  Contralto  and 
Orchestra,  Op.  11 
GLUCK— Aria  from  "Iphigenie  en  Tauride," 

"Unis  des  la  plus  tendre  enfance,  ..."      2 
HADLEY — Symphony  No.  2,  in  F-Minor,  Op. 

30,  "The  Four  Seasons"  2 

HAYDN— Symphony  in   G-Major    (B.  &  H. 

No.  13)  2 

HAUSEGGER,  von— Symphonic  Poem,  "Bar- 

barossa"  2 

62 


LISZT— A  "Faust"  Symphony  2 

"Todtentanz,"  for  Piano  and  Orchestra  2 

"The  Three  Gypsies"  (Song  with  Piano)        2 

MENDELSSOHN— Concerto  in  E-Minor,  Op. 

64,  for  Violin  and  Orchestra  2 

MOZART— Symphony  in  C-Major,  "Jupiter"       2 

RUBINSTEIN— Concerto  No.  4,  in  D-Minor, 

Op.  70,  for  Piano  and  Orchestra  2 

SAINT-SAENS— Concerto   in   A-Minor,   Op. 

33,  for  Violoncello  and  Orchestra  2 

SCHILLINGS,    Max — Symphonic    Prologue, 

"Oedipus,  the  King,"  Op.  11  2 

SCHUMANN — Introduction  and  Allegro  Ap- 
passionato, Op.  92,  for  Piano  and  Or- 
chestra 2 

SIBELIUS — "Lemminkainen  Journeys  Home- 
ward" (Legend  for  Orchestra)  2 

STRAUSS— Tone  Poem,  "Death  and  Trans- 
figuration," Op.  24  2 
Love  Scene  from  "Feuersnot"  2 
"Friedenserzahlung,"     from     "Guntram," 
for  Tenor                                                        2 

SUK— Suite,  "Ein  Mahrchen,"  Op.  16  2 

TCHAIKOVSKY— Symphony   No.   6,   in   B- 

Minor,  Op.  74,  "Pathetique"  2 

Orchestral  Fantasy,  "Hamlet,"  Op.  67  2 

WAGNER — Prelude    and    Glorification    from 

"Parsifal"  2 

"Huldigungs"  March  2 

WEBER— Overture,  "Euryanthe"  2 

1902 — During  the  Sixty-First  Season — 1903 
400th  to  415th  Concert 

WALTER  DAMROSCH          -  -  -  CONDUCTOR 


New  York 

BACH — Concerto  grosso  in  G-Major  2 


63 


BEETHOVEN— Symphony  No.  7,  in  A-Ma- 

jor,  Op.  92 

Symphony  No.  8,  in  F-Major,  Op.  93 
Overture,  "Coriolanus,"  Op.  62  2 

BERLIOZ — Three  Movements  from  Sym- 
phony, "Romeo  and  Juliet,"  Op.  17 
(Love  Scene,  Queen  Mab-Scherzo,  and 
(Fete) 

Overture,  "Benvenuto  Cellini,"  Op.  23  2 

"The  Captive" — Revery  for  Contralto  and 

Orchestra  2 

BRAHMS— Symphony    No.    2,    in    D-Major, 

Op.  73 
Concerto  in  D-Major,  Op.  77,   for  Violin 

and  Orchestra  2 

BRUCH— Concerto  No.  1,  in  G-Minor,  Op.  26, 

for  Violin  and  Orchestra  2 

CAETANI,  R.— Symphonic  Prelude  in  E-flat, 

Op.  8,  No.  1  2 

FRANCK,  Cesar — Two  Fragments  from 

"Psyche" 

GOLDMARK— Overture,  "Spring,"  Op.  36 
LALO— Overture,  "Le  Roi  d'  Ys"  2 

Concerto  in  D-Minor,  for  Violoncello  and 

Orchestra 

LISZT— Symphonic  Poem,  "Festklange"  2 

MARSCHNER— Aria,  "An  jenem  Tag,"  from 

"Hans  Heiling"  2 

MENDELSSOHN— Concerto  in  E-Minor,  Op. 

64,  for  Violin  and  Orchestra  2 

MOZART — Symphony    in    G-Minor    (Kochel 

550)  2 

SAINT-SAENS— Andantino    for    Violin    and 

Orchestra  2 

Concerto  No.  2,  in  G-Minor,  for  Piano  and 

Orchestra  2 

Concerto  No.  4,  in  C-Minor,  Op.  44,  for 
Piano  and  Orchestra  2 

64 


SCHUMANN— Symphony    No.    1,   in   B-flat, 

Op.  38  2 

STRAUSS,  R.— Symphonic  Poem,  "Till  Eulen- 

spiegel  and  His  Merry  Pranks"  2 

TCHAIKOVSKY— Symphony   No.   4,   in   F- 

Minor,  Op.  36  2 

Symphony  No.  5,  in  E-Minor,  Op.  64 
Theme  and  Variations  from  Suite  No.  3, 

in  G-Major,  Op.  55  2 

WAGNER— Prelude  and  Liebestod  from  "Tris- 
tan und  Isolde"  2 
Prelude,  "Die  Meistersinger"  2 
Wotan's  Farewell  and  Magic  Fire  Scene 

from  "Die  Walkiire"  2 

Morning  Dawn  and  Siegfried's  Rhine  Jour- 
ney from  Gotterdammerung"  2 
Dreams  2 
Album  Leaf  2 
"In  the  Hothouse"  (Im  Treibhaus)   Song 

with  Orchestra  2 

"Grief"  (Schmerzen)  Song  with  Orchestra      2 
WEINGARTNER,   Felix— Symphony   No.  2, 

in  E-flat-Major,  Op.  29  2 

1903 — During  the  Sixty-Second  Season — 1904 
416th  to  432nd  Concert 

CONDUCTORS 

EDOUARD   COLON NE  VICTOR   HERBERT 

GUSTAV   F.    KOGEL  FELIX    WEINGARTNER 

HENRY   J.    WOOD  WASSILY  SAFONOFF 

RICHARD    STRAUSS 


New  York 

BACH— Suite  No.  3,  in  D-Major  2 
BEETHOVEN— Symphony  No.  5,  in  C-Minor 

Op.  67  2 

Symphony  No.  7,  in  A-Major,  Op.  92  2 

65 


Overture,  "Leonore  No.  3"  2 

Concerto  No.  5,  in  E-flat,  for  Piano  and 

Orchestra,  Op.  73  ("Emperor")  1 

BERLIOZ— Fantastic  Symphony  No.  1,  in  C- 

Major,  Op.  14a  2 

Overture,  "Benvenuto  Cellini,"  Op.  23  2 

BIZET— Dramatic  Overture,  "Patrie,"  Op.  19        2 
BRAHMS — Symphony  No.  1,  in  C-Minor,  Op. 

68  2 

DVORAK— Overture,  "Carnival,"  Op.  92  2 

GLAZOUNOW— Serenade  in  A-Major,  Op.  7      2 
HERBERT,  Victor— Symphonic  Poem,  "Hero 

and  Leander,"  Op.  33  2 

KLEIN,  Bruno  Oscar — Suite  in  F-Major,  Op. 

28,  for  Violoncello  and  Orchestra  2 

LALO — Concerto    in    F-Major,    Op.    20,    for 

Violin  and  Orchestra  2 

LISZT— Symphonic  Poem,  "Les  Preludes" 

Symphonic  Poem,  "Tasso"  2 

Concerto  No.  2,  in  A-Major,  for  Piano  and 

Orchestra  2 

MOZART— Symphony  in  C-Major,  "Jupiter" 

Scene  and  Rondo,  "Non  temer,  amato  bene"       2 
RIMSKY-KORSAKOFF— Capriccio  Espagnol, 

Op.  34  2 

RUBINSTEIN— Adagio  for  Quartet  in  F,  Op. 

17  (Strings)  2 

SAINT-SAENS— Concerto  No.  3,  in  B-Minor, 

Op.  61,  for  Violin  and  Orchestra  2 

Aria,  "Mon  cceur  s'ouvre  a  ta  voix,  from 

"Samson  and  Dalila"  2 

SCHUBERT— Symphony   in    B-Minor,    "Un- 
finished"  "  2 
STRAUSS— Tone  Poem,  "Death  and  Trans- 
figuration," Op.  29  2 
Symphonic  Poem,  "Till  Eulenspiegel  and 

His  Merry  Pranks"  2 

Love  Scene  from  "Feuersnot"  2 


66 


Songs  with  Orchestra: 

a.  Hymns 

b.  Pilgers    Morgenlied,    Op.   33,   Nos.    3 

and  4  2 

Songs  with  Piano: 

a.  Liebeshymnus  2 

b.  Sehnsucht  2 

c.  Lied  des  Steinklopfers  2 
TCHAIKOVSKY— Symphony    No.    5,    in   E- 

Minor,  Op.  64  2 

Symphony    No.   6,    in   B-Minor,    Op.    74, 

"Pathetique"  2 

Concerto  No.  2,  in   G-Major,   Op.  44,   for 

Piano  and  Orchestra  2 

WAGNER— Overture,  "Tannhxuser"  1 

Prelude,  "Lohengrin"  1 

Prelude  and  Liebestod  from  "Tristan  und 

Isolde"  2 

Prelude,  "Die  Meistersinger"  1 

A  "Faust"  Overture  2 

WEBER— Overture,  "Der  Freischutz"  2 

WEINGARTNER— Symphonic    Poem,    "The 

Elysian  Fields,"  Op.  21  2 

Symphonic  Poem,  "King  Lear,"  Op.  20  1 

1904 — During  the  Sixty-Third  Season— 1905 
433rd  to  450th  Concert 

CONDUCTORS 

GUSTAV   F.    KOGEL  WASSILY  SAFONOFF 

EDOUARD   COLONNE  KARL   PANZNER 

FELIX    WEINGARTNER 


New  York 

BACH — Concerto  Grosso  No.  3,  in  G-Major 

(4th  Brandenburg)  2 

BEETHOVEN— S  y  m  p  h  o  n  y  No.  2,  in 

D-Major,  Op.  36  2 

67 


Symphony  No.  9,  in  D-Minor,   Op.   125 

(Choral)  2 

Overture,  "Coriolanus,"  Op.  62  2 

Concerto  No.  4,  in  G-Major,  Op.  58,  for 
Piano  and  Orchestra  2 

BERLIOZ— Symphony  No.  3,  in  G,  "Harold  in 

Italy"  2 

Excerpts  from  "The  Damnation  of  Faust" 
"Minuet  of  the  Will-o-the  Wisps"  2 

"Danse  of  the  Sylphs"  2 

"Rakoczy  March"  2 

BRAHMS — Symphony  No.  4,  in  E-Minor,  Op. 

98  2 

BRUCH— Concerto  No.  1,  in  G-Minor,  Op.  26, 

for  Violin  and  Orchestra  2 

CHARPENTIER— S  u  i  t  e  ,    "Impressions   of 

Italy"  2 

D'ALBERT— Concerto   in   C-Major,   Op.   20, 

for  Violoncello  and  Orchestra  2 

DVORAK— Overture,  "Husitzka,"  Op.  67  2 

GLAZOUNOFF— Symphony    No.    6,    in    C- 

Minor,  Op.  58  2 

GLUCK— Overture,  "Iphigenia  in  Aulis"  (Wag- 
ner ending)  2 

HANDEL — Concerto  grosso  No.  5,  in  D-Major 
(Kogel) 

LALO— Overture,  "Le  Roi  d'  Ys"  2 

LISZT— A  "Faust"  Symphony  2 

Symphonic  Poem,  "Battle  of  the  Huns"          2 
Concerto  No.  1,  in  E-flat-Major,  for  Piano 
and  Orchestra  2 

MOZART— Overture,  "The  Magic  Flute"  2 

SAINT-SAENS— S  y  m  p  h  o  n  y  No.  2,  in  A- 

Minor,  Op.  55  2 

SCHUBERT— Fantasy  in  C-Major,  Op.  15, 
"The  Wanderer,"  for  Piano  and  Or- 
chestra (Liszt)  2 

TCHAIKOVSKY— Symphony   No.   4,   in   F- 

Minor,  Op.  36 
Symphony  No.  5,  in  E-Minor,  Op.  64  2 

68 


Symphony  No.  6,  in  B-Minor,  Op.  74, 

"Pathetique"  2 

Fantasy  Overture,  "Romeo  and  Juliet"  2 
Concerto  in  D-Major,  Op.  35,  for  Violin 

and  Orchestra  2 

WAGNER— Overture,  "The  Flying  Dutchman"  2 

"Bacchanale,"  from  "Tannhaeuser"  2 
Prelude  and  Liebestod  from  "Tristan  und 

Isolde"  2 

Prelude,  "Die  Meistersinger"  2 
Siegfried  Idyll 

WEBER— Overture,  "Euryanthe"  2 

Overture,  "Oberon"  2 
WEINGARTNER— Symphony   No.  2,  in  E- 

flat-Major,  Op.  29  2 

1905 — During  the  Sixty-Fourth  Season — 1906 
451st  to  468th  Concert 

CONDUCTORS 

WILLEM    MENGELBERG  WASSILY  SAFONOFF 

VICTOR   HERBERT  ERNST  KUNWALD 

MAX   FIEDLER  FRITZ   STEINBACH 


New  York 

BEETHOVEN— Symphony  No.  3,  in  E-flat- 

Major,  Op.  55,  "Eroica"  2 
Symphony  No.  5,  in  C-Minor,  Op.  67  2 
Symphony  No.  8,  in  F-Major,  Op.  93  2 
Overture,  "Egmont,"  Op.  84  2 
Overture,  "Leonore  No.  3"  2 
Concerto  No.  5,  in  E-flat,  Op.  73,  (Em- 
peror) for  Piano  and  Orchestra  2 
Concerto  in  D-Major,  Op.  61,  for  Violin 

and  Orchestra  2 
Recitative  and  Aria  "Abscheulicher,"  from 

"Fidelio"  2 


69 


BERLIOZ— O  v  e  r  t  u  r  e,  "Roman  Carnival," 

Op.  9  2 

BRAHMS — Symphony    No.    2,    in    D-Major, 

Op.  73  2 

Concerto  in  D-Major,  Op.  77,  for  Violin 

and  Orchestra  2 

DVORAK— Symphony  No.  5,  in  E-Minor,  Op. 

95,  "The  New  World"  2 

ECKERT,  Karl— Aria  from  "William  of 

Orange,"  "Though  I  speak  with  the 

tongues  of  men  and  of  angels.  ..."  2 

ELGAR — Variations   on   an   Original   Theme, 

Op.  36  2 

GRIEG — Concerto   in   A-Minor,   Op.    16,    for 

Piano  and  Orchestra  2 

HERBERT,   Victor— S  u  i  t  e  ,   "Romantique," 

Op.  31  2 

JONGEN,   Joseph — Concerto    for   Violoncello 

and  Orchestra  2 

LISZT— Symphonic  Poem,  "Les  Preludes"  2 

MENDELSSOHN— Overture,  "A  Midsum- 
mer Night's  Dream"  2 
MOZART — Concerto  in  D-Minor,   for  Piano 

and  Orchestra  2 

RAFF— Symphony  No.  3,  "Im  Walde"  2 

RIM  SK  Y-KORS  AKOFF—  Symphonic    Suite, 

"Scheherazade,"  Op.  35 
SCHUBERT— Theme  and  Variations  from  the 

Quartet  in  D-Minor,  for  Strings  (Death 

and  the  Maiden)  2 

SCHUMANN— Symphony  No.  4,  in  D-Minor, 

Op.  120  2 

STRAUSS— Tone  Poem,  "Don  Juan,"  Op.  20        2 
Symphonic  Poem,  "The  Life  of  a  Hero," 

Op.  40  2 

Symphonic  Poem,  "Till  Eulenspiegel  and 

His  Merry  Pranks"  2 

Songs  with  Piano: 

Traum  durch  die  Dammerung"  2 

"Cacilie"  2 

70 


TCHAIKOVSKY— Symphony   in    B-Minor, 

"Manfred,"  Op.  58  2 

Symphony    No.    6,    in    B-Minor,    Op.    74 

"Pathetique"  2 

Serenade  for  Strings  in  C-Major,  Op.  48          2 
Concerto  No.   1,  in  B-flat-Minor,  Op.  23 

for  Piano  and  Orchestra  2 

WAGNER— Scene  and  Aria  from  "Rienzi," 
("Gerechter  Gott")  and  ("In  seiner 
Bliithe")  2 

Prelude,  "Die  Meistersinger"  2 

WOLF — Songs  with  Piano 

"Verborgenheit"  2 

"Der  Freund"  2 

1906— During  the  Sixty-Fifth  Season— 1907 
469th  to  484th  Concert 

WASSILY  SAFONOFF        -  CONDUCTOR 


New  York 

BACH — Sonata  in  E-flat   (Organ  Sonata,  ar- 
ranged for  orchestra  by  H.  H.  Wetzler)  2 
BEETHOVEN— Symphony  No.  3,  in  E-flat, 

Op.  55,  "Eroica" 

Symphony  No.  4,  in  B-flat-Major,  Op.  60  2 

Overture,  "Coriolanus,"  Op.  62  2 

Overture,  "Leonore  No.  3"  2 

Scene  and  Aria,  "Ah,  Perfido,"  Op.  65  2 
Concerto  in  D-Major,  Op.  61,  for  Violin 

and  Orchestra  2 
BRAHMS — Symphony    No.    3,    in    F-Major, 

Op.  90  2 

CHERUBINI— Overture,  "Anakreon"  2 

GLINKA— Overture,  "Russian  and  Ludmilla"  2 

GRIEG— Lyric  Suite  (for  Orchestra)  2 

Concerto  in  A-Minor,  Op.  16,  for  Piano 

and  Orchestra  2 


71 


HAYDN— Symphony  in  C-Minor  (B.&H. 

No.  9)  2 

Recitative  and  Aria,  "With  Verdure  Clad," 

from  "The  Creation"  2 

HERBERT,  Victor— C  o  n  c  e  r  t  o  No.  2,  in 

E-Minor,  Op.  30,   for  Violoncello  and 

Orchestra  2 

LISZT— Two  Episodes  from  Lenau's  "Faust" 

a.  Nocturnal  Procession  2 

b.  Dance  in  the  Village  Tavern  2 
MENDELSSOHN— Symphony    in    A-Major, 

Op.  90,  "Italian"  2 

MOZART— "Eine  kleine  Nachtmusik"  (  f or 

Strings)  (Kochel  525)  2 

RIMSKY-KORSAKOFF— Suite,    "Christmas 

Eve"  2 

RUBINSTEIN— Concerto  No.  4,  in  D-Minor, 

Op.  70,  for  Piano  and  Orchestra  2 

SCHUBERT— Symphony  in  C-Major  (B.&H. 

No.  7)  2 

SCHUMANN— Symphony  No.  2,  in  C-Major, 

Op.  61  2 

Overture,  "Manfred,"  Op.  115  2 

SIBELIUS— Concerto  in  D-Minor,  Op.  47,  for 

Violin  and  Orchestra  2 

TCHAIKOVSKY— Symphony   No.   5,   in 
E-Minor,  Op.  64  2 

Fantasia,  "Francesca  da  Rimini,"  Op.  32          2 
Concerto  No.  1,  in  B-flat-Minor,  Op.  23, 

for  Piano  and  Orchestra  2 

WAGNER— Overture,   "Tannhaeuser"  2 

Prelude  to  Act  111,  "Die  Meistersinger"          2 
Walther's  Prize  Song,  from  "Die  Meister- 
singer" 2 
Ride  of  the  Valkyries  from  "Die  Walkure"      2 
Siegmund's  Love  Song,  from  "Die  Walkure"     2 
A  Faust  Overture  2 
WEBER— Overture,  "Oberon"  2 


72 


1907 — During  the  Sixty-Sixth  Season — 1908 
485th  to  502nd  Concert 

WASSILY  SAFONOFF        -  CONDUCTOR 


New  York 

BACH — Prelude,  Choral  and  Fugue  (arranged 

by  Abert)  2 

BEETHOVEN— Symphony  No.  5,  in  C-Minor, 

Op.  67  2 

Symphony   No.   6,   in   F-Major,    Op.   68, 

(Pastoral)  2 

Symphony  No.  8,  in  F-Major,  Op.  93  2 

Andante  con  moto,  for  Strings,  from  Op. 

59,  No.  3  2 

Scene    and   Aria,    "Abscheulicher,"    from 

"Fidelio"  2 

BERLIOZ— Symphony    No.    3,    in    G-Major, 

"Harold  in  Italy"  2 

"The  Captive,"  a  Revery  for  Contralto  and 

Orchestra  2 

"The    Flight   into    Egypt,"    (Tenor    solo, 

chorus,  and  Orchestra)  2 

BRUCH — Scotch  Fantasia,  Op.  46,  for  Violin 

and  Orchestra  2 

CHOPIN— Concerto  No.  2,  in  F-Minor,  Op. 

21,  for  Piano  and  Orchestra  2 

DVORAK— Symphony    No.    5,    in    E-Minor, 

Op.  95,  "The  New  World"  2 

GLAZOUNOFF— "The  Isle  of  Love"  2 

GRIEG— Suite  No.  1,  from  "Peer  Gynt,"  Op. 

46  2 

Concerto  in  A-Minor,  Op.  16,  for  Piano 

and  Orchestra  2 

HOFMANN— Concerto    No.   3,   in   A-Minor, 

for  Piano  and  Orchestra  2 

LALO — Concerto  in  D-Minor,  for  Violoncello 

and  Orchestra  2 


73 


MENDELSSOHN— Overture,"  Fingal's  Cave," 

Op.  26  2 

METZL,    Vladimir— Symphonic    Poem,    "The 

Sunken  Bell"  2 

MOZART — Concerto  in  D-Major,  for  Violin 

and  Orchestra  (Kochel  218)  2 

RIMSKY— KORSAKOFF— Easter  Overture, 

Op.  36  2 

RUBINSTEIN— Symphony  No.  2,  in  C-Major, 

"Ocean,"  Op.  42  2 

SCRIABINE— Symphony  No.  1,  in  E-Major, 
Op.  26  (with  soprano  and  tenor  solos 
and  chorus)  2 

STRAUSS— Tone  Poem,  "Death  and  Trans- 
figuration," Op.  29  2 
Hymnus,  Op.  33,  No.  3   (Voice  and  Or- 
chestra)                                                            2 
TCHAIKOVSKY— Symphony    No.   4,    in 

F-Minor,  Op.  36  2 

Symphony   No.   6,   in   B-Minor,    Op.   74, 

"Pathetique"  2 

Fantasy  Overture,  "Romeo  and  Juliet"  2 

Concerto  No.  1,  in  B-flat-Minor,  Op.  23, 

for  Piano  and  Orchestra  2 

VIVALDI — Concerto  in  C-Major,  for  Violin 

and  Orchestra  2 

WAGNER— Overture,  "Rienzi"  2 

Prelude,  "Die  Meistersinger"  2 

Siegfried's  Death  and  Briinnhilde's  Immo- 
lation  Scene   from  "Gotterdammerung"       2 
Prelude  and  Glorification  from  "Parisfal"       2 
WEBER— Overture,  "Der  Freischutz"  2 


74 


1908 — During  the  Sixty-Seventh  Season — 1909 
503rd  to  Slsth  Concert 

WASSILY  SAFONOFF        -  CONDUCTOR 


New  York 

BACH — Toccata  in  F-Major  (Esser)  2 

BEETHOVEN— Symphony  No.  3,  in  E-flat, 

Op.  55,  "Eroica"  2 

Symphony  No.  7,  in  A-Major,  Op.  92  2 

HADLEY,  Henry— T  one  Poem,  "Salome," 

Op.  55  2 

HAYDN— Symphony  in  G-Major  (B.  &  H. 

No.  13)  2 

MENDELSSOHN— "Italian"  Symphony  in 

A-Major,  Op.  90  2 

From  "A  Midsummer  Night's  Dream" 

a.  Overture  2 

b.  Scherzo  2 

c.  Nocturne  2 

d.  Wedding  March  2 
Concerto  in  E-Minor,  Op.  64,  for  Violin 

and  Orchestra  2 

Scena   for   Soprano   and   Orchestra,   "In- 
felice,"  Op.  94  2 

RUBINSTEIN— Fantasia  in  C-Major,  Op.  84, 

for  Piano  and  Orchestra  2 

SAINT-SAENS— Concerto  No.  3,  in  B-Minor, 

Op.  61,  for  Violin  and  Orchestra  2 

SCHUBERT— Symphony  in  B-Minor,  "Unfin- 
ished" 2 

SCHUMANN— Overture,  "Manfred,"  Op.  115      2 
Concerto  in  A-Minor,  Op.  54,  for  Piano 
and  Orchestra  2 

SMETANA— Symphonic  Poem,  "Vltava"  2 

STAHLBERG — Symphony,     "Abraham     Lin- 
coln" 2 

STRAUSS— Tone  Poem,  "Thus  Spake  Zara- 

thustra,"  Op.  30  2 

75 


TCHAIKOVSKY— Symphony     in     B-Minor, 

Op.  58,  "Manfred"  2 

Symphony  No.  5,  in  E-Minor,  Op.  64  2 
Symphony   No.   6,   in   B-Minor,    Op.   74, 

"Pathetique"  2 

Italian  Caprice,  Op.  45  2 

Elegy  from  Serenade  in  C-Major  2 

Slavic  March,  Op.  31  2 

VOLKMANN— Concerto  in  A-Minor,  Op.  33, 

for  Violoncello  and  Orchestra  2 

WAGNER— Overture,  "Tannhaeuser"  2 

Prelude,  "Lohengrin"  2 

Good  Friday  Spell,  from  "Parsifal"  2 

WEBER— Overture,  "Euryanthe"  2 

1909 — During  the  Sixty-Eighth  Season — 1910 
519th  to  564th  Concert 

CUSTAV  MAHLER  -  CONDUCTOR 


N.Y.    On  Tour 

BACH — Suite  for  Orchestra   (From  2nd 

and  3rd;  arranged  by  Mahler)  5        3 

Concerto    No.    2,    in    E-Major,    for 

Violin  and  Orchestra  1 

BEETHOVEN— Symphony  No.  2,  in  D- 

Major,  Op.  36  1 

Symphony    No.    3,    in    E-flat-Major, 

Op.  55,  "Eroica"  3 

Symphony    No.    4,    in    B-flat-Major, 

Op.  60  1 

Symphony  No.  5,  in  C-Minor,  Op.  67    4        1 
Symphony  No.  6,  in  F-Major,  Op.  68, 

"Pastoral" 

Symphony  No.  7,  in  A-Major,  Op.  92     1 
Symphony   No.   9,   in   D-Minor,    Op. 

125    (Choral)  2 

Overture,  "Coriolanus,"  Op.  62  4 

Overture,  "Egmont,"  Op.  84 
Overture,  "Leonore  No.  1"  1 


76 


Overture,  "Leonore  No.  2"  1 

Overture,  "Leonore  No.  3"  3         1 

Overture,     "Consecration    of     the 

House"  2 

Overture,  "Fidelio"  1 

Overture,     "Zur     Namensfeier," 

Op.  115,  in  C-Major  1 

Choral  Fantasia  in  C-Minor,  Op.  80      2 
Scene  and  Aria,   "Ah,   Perfido," 

Op.  65  3 

Concerto  No.  4,  in  G-Major,  Op.  58, 

for  Piano  and  Orchestra  1 

Concerto  in  D-Major,  Op.  61,  for  Vio- 
lin and  Orchestra  1         1 
BERLIOZ — Fantastic  Symphony  No.  1,  in 

C-Major,  Op.  14a  3        5 

Overture,  "Roman  Carnival,"  Op.  9  2 
BIZET— Aria  from  "Fair  Maid  of  Perth"  1 
BRAHMS — Symphony  No.  3,  in  F-Major, 

Op.  90  4 

Gesang  aus  Singal  1 

Concerto  in  D-Major,  Op.  77,  for  Vio- 
lin and  Orchestra  2 
BRUCKNER— Symphony  No.  4,  in  E-flat 

Major,   "Romantic"  1 

BUSONI— Orchestral  Suite,  "Turandot"      2 
DEBUSSY— Prelude,  "L'Apres-midi  d'un 

Faune"  2 

Three  Nocturnes  (a.  "Clouds,"  b.  Fes- 
tivals" and  "Sirens")  2 
DUKAS— "The    Sorcerer's    Apprentice," 

Scherzo — After  a  Ballad  of  Goethe    2 
DVORAK— Overture,  "Nature,"  Op.  91       2 
Scherzo  Capriccioso,  Op.  66  1 

FIEDLER— "The    Tambourin    Player" 

(Song)  3 

GRfiTRY— Recitative    and    Aria    "C'est 

ici,"  from  "Cephale  et  Procris"  1 


77 


GRIEG— "In  the   Hall  of  the   Mountain 

King,"  from  "Peer  Gynt"  Suite  1 

Concerto    in    A-Minor,    Op.    16,    for 

Piano  and  Orchestra  1 

HANDEL— Aria,   "Quanto   Dolci,"   from 

"Flavio"  1         1 

Largo  from  "Xerxes"  1 

HAYDN— Symphony  in  D-Major  (B.  & 

H.  No.  2)  1 

Aria,  "9n  Mighty  Pens,"  from  "The 

Creation"  1 

LISZT — Symphonic    Poem,    "Les    Pre- 
ludes" 2 
Symphonic  Poem,  "Mazeppa"  3 
Concerto    No.    2,    in    A-Major,    for 

Piano  and  Orchestra  1 

MAHLER— Symphony  No.  1,  in  D-Major    2 
Five  "Children's  Death  Songs" : 

a.  "Nun  will  die  Sonne"  1         1 

b.  "Nun  seh'  ich  wohl"  1         1 

c.  "Wenn  dein  -Miitterlein"  1         1 

d.  "Oft  denk'  ich"  1         1 

e.  "In  diesen  Wetter"  1         1 
(For  solo  voice  and  Orchestra) 

MASSENET— Legende,  "The  Juggler  of 

Notre  Dame"  1 

MENDELSSOHN— Concerto  in  E-Minor, 

Op.  64,   for  Violin  and  Orchestra    2 

MOZART — Symphony  in  C-Major,  "Ju- 
piter" 1 
Aria  from  "Figaro,"  "Deh  vieni"              1 
Aria  from  "Figaro,"  "Voi  die  Sapete"  1 

PFITZNER— Overture,  "Das  Christ- 

elflein,"  Op.  20  1 

RACHMANINOFF— Concerto  No.  3,  in 
D-Minor,  Op.  30,  for  Piano  and  Or- 
chestra 1 

RAMEAU— "Rigaudon,"   from  "Dardan- 

us"  1 


78 


SCHUBERT— Symphony    in     B  -  Minor, 

"Unfinished"  3 

"Wanderer,"     Fantasy     in     C-Major, 

Op.    15,    for   Piano   and   Orchestra 

(Liszt)  3 

Serenade  (Song)  1 

SCHUMANN— Symphony   No.  4,   in  D- 

Minor,  Op.  120  4 

Concerto    in    A-Minor,    Op.    54,    for 

Piano  and  Orchestra  1 

SMETANA— Overture,     "The     Bartered 

Bride"  5 

Aria,     "The     Bartered     Bride,"     for 

Tenor  1 

STRAUSS— Tone    Poem,    "Don    Juan," 

Op.  20  3 

Tone  Poem,  "Death  and  Transfigura- 
tion," Op.  29  2 
Symphonic  Poem,  "Till  Eulenspiegel 

and  His  Merry  Pranks,"  Op.  24         5 

Prelude  to  Act  I,  "Guntram"  1 

Prelude  to  Act  II,  "Guntram"  1 

"Hymnus"  (Song)  3 

TCHAIKOVSKY— Symphony   No.  6,   in 

B-Minor,  "Unfinished"  3 

Orchestral     Fantasy,     "Romeo     and 

Juliet"  3 

Festival  Overture  "1812"  1 

Concerto  No.  1,  in  B-flat-Minor,  Op. 

23,  for  Piano  and  Orchestra  1 

VIEUXTEMPS— Concerto  No.  5,  in 

A-Minor,  Op.   37,   for  Violin  and 

Orchestra  1 

WAGNER— "The  Messengers  of  Peace," 

from  "Rienzi"   (Chorus)  1 

Overture,  "The  Flying  Dutchman"          3 
Overture,  "Tannhaeuser"  4 

Aria,     "Dich,    theure     Halle,"     from 

"Tannhaeuser"  1 

Prelude,  "Lohengrin"  2 


79 


Prelude  and  Liebestod  from  "Tristan 

und  Isolde"  4 

Prelude,  "Die  Meistersinger"  5        3 

"Walther's   Prize   Song,"   from   "Die 

Meistersinger"  2 

Sach's    Second    Monologue,    "Wahn! 

Wahn !"  from  "Die  Meistersinger"      1 
Wotan's    Farewell    and    Magic    Fire 

Scene,  from  "Die  Walkure"  1 

Siegmund's   Love    Scene,    from   "Die 

Walkure"  1 

Siegfried's  Death,  from  "Gotterdam- 

merung"  2 

Prelude,  "Parsifal"  1 

A  Faust  Overture  4 

Siegfried  Idyll  4 

Kaiser  March  2 

Songs  with  Orchestra: 

"Schmerzen"  1 

"Im  Treibhaus"  1 

WEBER — Concertpiece    in    F-Minor, 

Op.  90,  for  Piano  and  Orchestra        2 
WEI NGARTNER— Songs  for  solo  voice 

and  orchestra: 

"Erdriese"  2 

"Letzter  Tanz"  2 

WOLF— Songs: 

"Spring"  ("Er  ist's") 

"Anakreons  Grab"  2 

"Der  Rattenfanger" 

1910 — During  the  Sixty-Ninth  Season— 1911 
565th  to  619  Concert 

GUSTAV   MAHLER  -  CONDUCTOR 


N.Y.    On  Tour 

BACH — Suite  for  Orchestra  (arranged 
from  Second  and  Third  Suites,  by 
Mahler)  3  3 

80 


BEETHOVEN— S  y  m  p  h  o  n  y  No.  3  in 

E-flat-Major,  Op.  55,  "Eroica"  1 

Symphony  No.  5,  in  C-Minor,  Op.  67  2 
Symphony  No.  6,  in  F-Major,  Op.  68, 

"Pastoral"  3 
Symphony  No.  7,  in  A-Major,  Op.  92  3 
Symphony  No.  8,  in  F-Major,  Op.  93  2 
Overture,  "Coriolanus,"  Op.  62  2 
Overture,  "Leonore  No.  3"  2 
Overture,  "Egmont,"  Op.  84  1 
Overture,  "King  Stephen,"  Op.  117  2 
Concerto  No.  5,  in  E-flat,  Op.  73, 
for    Piano    and    Orchestra    ("Em- 
peror") 2 
BERLIOZ — Three  Movements  from  Sym- 
phony, "Romeo  and  Juliet": 

a.  Capulet's  Fete;  2 

b.  Love  Scene;  2 

c.  Scherzo — Queen  Mab  2 
Three  Excerpts  from  "The  Damnation 

of  Faust": 

c.  Scherzo — Queen  Mab  2 

a.  Will-o'-the-Wisps;  1 

b.  Dance  of  the  Sylphs;  1 

c.  Rakoczy  March  1 
BIZET— Suite  No.  1,  "L'Arlesienne"  4 

Suite  No.  3,  for  Orchestra,  "Roma"  2 
BOSSI — Intermezzo  Goldoniani  for  Strings, 

Op.  127  2 
BRAHMS — Symphony  No.  1,  in  C-Minor, 

Op.  68  2 
BRUCH — Concerto  No.  1,  in  G-Minor, 

Op.  26,  for  Violin  and  Orchestra  1 

BUSONI— "Berceuse  filegiaque"  2 
CHABRIER— Rhapsody  for  Orchestra, 

"Espafia"  4 
Ode  to  Music,  for  chorus,  tenor  solo, 

and  orchestra  3 

CHADWICK— Overture,  "Melpomene"  2 

CHERUBINI— Overture,  "Anakreon"  2 


81 


DEBUSSY— Rondes  de  Printemps  2 

"Iberia"  3 

DVORAK— Symphony  No.  5,  in  E-Minor, 

Op.  95,  "The  New  World"  4 

Overture,  "Carneval,"  Op.  92  2 

ELGAR — Variations  on  an  Original  Theme, 

Op.  36  2 

"Sea  Pictures,"  Op  37  (Songs): 

a.  The  Sea  Slumber  Song  2 

b.  In  Heaven  (Capri)  2 

c.  Sabbath  Morning  at  Sea  2 

d.  Where  Corals  Lie  2 
ENESCO— Suite  for  Orchestra,  Op.  9        3 
GLAZOUNOFF— Musical    Picture,    "Le 

Printemps,"  Op.  34 
GOLDM ARK— Overture,    " S  a  k  u  n  t  a  1  a," 

Op.  13  1 

Overture,  "Spring,"  Op.  36  1 

Concerto  in  A-Minor,  Op.  28,  for  Vio- 
lin and  Orchestra  2 
GRIEG— Suite  No.  1,  "Peer  Gynt,"  Op. 

46  1 

Sigurd  Jorsalfar  1 

Before  the  Cloister  Gate  (with  solos 

and  chorus)  1 

HADLEY,     Henry— Rhapsody     for    Or- 
chestra, "The  Culprit  Fay"  2 
LALO— Overture,  "Le  Roi  d'  Ys"  1 
"Aubade,"   from  the  Opera  "Le  Roi 

d'  Ys"  3 

LISZT— Symphonic  Poem,  "Les  Preludes"     2 

Symphonic  Poem,  "Tasso"  1 

"Mephisto"  Waltz  1 

LOEFFLER,  Ch.  M.— "La  Villanelle  du 

Diable,"  Op.  9 

MAC  DOWELL— The  Saracens  and  Love- 
ly Alda,  Op.  30 

Concerto  No.  2,  in  D-Minor,  Op.  23, 
for  Piano  and  Orchestra  1 


82 


MAHLER—  S  y  m  p  h  o  n  y     No.    4,     in 

G-Major  (with  soprano  solo)  3 

"Morning  in  the  Fields"  (Song)  2 

"A  Tale  of  the  Rhine"  (Song)  2 

MARTUCCI— Concerto    in    B-flat-Minor, 

Op.  66,  for  Piano  and  Orchestra         2 
MASSENET— "Le  Reve  de  des  Grieux" 

from  "Manon"  3 

Aria,   "Zarastra,"    from   "Le    Mage," 

for  Tenor  3 

MENDELSSOHN— Symphony     No.     4, 

Op.  90,  "Italian"  2 

Overture,  "Fingal's  Cave,"  Op.  26      2 
Overture,  "Melusine"  2 

Overture,     "A     Midsummer     Night's 

Dream"  2 

Concerto  in  E-Minor,  Op.  64,  for  Vio- 
lin and  Orchestra  1 
MOZART— Symphony  in  G-Minor                2 
Ballet  Music  from  "Idomeneo"               3 
"Deutsche  Tanze"                                        3 
PFITZNER— Overture,  "Das  Katchen  von 

Heilbronn"  2 

RIMSKY-KORSAKOFF  —  Symphonic 

Suite,  "Scheherazade,"  Op.  35  1 

SAINT-SAENS— Concerto  No.  4,  in 

C-Minor,  Op.  44  2 

"Printemps  qui  commence"  1         2 

"Mon  coeur  s'ouvre  a  ta  voix  1         2 

(From  "Samson  and  Dalila") 
SCHARWENKA,    Xaver— Concerto    No. 
4,  in  F-Minor,  Op.  82,   for  Piano 
and  Orchestra  1 

SCHILLINGS— Introduction  to  Act  III, 

"Der  Pfeiffertag"  2 

SCHUBERT— Symphony     in     B  -  Minor, 

"Unfinished"  3 

Symphony  in   C-Major    (B.    &   H. 
No.  7)  3 


83 


SCHUMANN— Symphony   No.   2,   in  C- 

Major,  Op.  61  2 

Symphony   No.   3,   in  E-flat,   Op.   97 

(Rhenish)  3 

Overture,  "Manfred,"  Op.  115  2 

SIBELIUS — C  oncerto     in     D-Minor, 

Op.  47,  for  Violin  and  Orchestra          2 
SINIGAGLIA— Overture,     "Le     baruffe 

Chiozzotte,"  Op.  32  2 

SMETANA— Symphonic  Poem,  "Vltava"      2 
Bohemian   Cradle    Song,    from   "The 

Bartered  Bride"  2 

STANFORD— Irish    Symphony    in 

F-Minor,  Op.  28  2 

STRAUSS— Tone  Poem,  "The  Life  of  a 

Hero,"  Op.  40  2 

Tone  Poem,  "Death  and  Transfigura- 
tion," Op.  24  2 
Symphonic  Poem,  "Till  Eulenspiegel 

and  His  Merry  Pranks"  2 

"Thus  spake  Zarathustra"  3 

"Pilgrim's  Morning  Song"  (Song)  2 

"Verfiihrung,"  Op.  33,  No.  1  (Song)     2 
"Freundlich  Vision,"  Op.  48, 

No.  1  (Song)  2 

"Heimliche    Aufforderung,"    Op.    27, 

No.  3  (Song)  2 

SVENDSEN— "Carnival  in  Paris"  2 

TCHAIKOVSKY— Symphony   No.  2,  in 

C-Minor,  Op.  17  3 

Symphony  No.  5,  in  E-Minor,  Op.  64     1 
Symphony  No.  6,  in  B-Minor,  Op.  74, 

"Pathetique"  2 

Symphonic  Poem,  "Francesca  da  Ri- 
mini," Op.  32  2 
Suite  No.  1,  in  D-Minor,  Op.  43,  for 

Orchestra  3 

WAGNER— Overture,  "Rienzi"  2 

Recitative  and  Aria,  "Gerechter  Gott," 
and  "In  seiner  Bluthe,"  from  "Rien- 

84 


Overture,  "The  Flying  Dutchman"  6        2 
Overture,  "Tannhaeuser"  2         1 
Overture  and  Bacchanale  from  "Tann- 
haeuser" 3 
Introduction  and  Aria,  "Dich,  theure 

Halle,"  from  "Tannhaeuser"  3 
Elizabeth's   Prayer,    from   "Tann- 
haeuser" 1 
Prelude,  "Lohengrin"  4         1 
Elsa's  Dream,  from  "Lohengrin"  3 
Prelude  and  Liebestod,  from  "Tristan 

und  Isolde"  5        4 
Prelude,  "Die  Meistersinger"  3         3 
Introduction  to  Act  III,  "Die  Meister- 
singer" 3 
Sach's    Second    Monologue,    "Wahn! 

Wahn!"  from  "Die  Meistersinger"  3 
Ride    of    the    Valkyries,    from    "Die 

Walkiire"  3        2 

Magic  Fire  Scene  from  "Die  Walkiire"  1 

"Waldweben,"  from  "Siegfried"  1 
Siegfried's  Rhine  Journey  from  "Got- 

terdammerung"  1         1 
Siegfried's   Death   from   "Gotterdam- 

merung"  2 
Briinnhilde's   Immolation   and   Finale 

from  "Gotterdammerung"  2 
Waltraute's    Scene    from   Gotterdam- 
merung'" 2 
Prelude  and  Glorification  from  "Par- 
sifal" 1 
Good  Friday  Spell  from  "Parsifal"  1         1 
A  Faust  Overture  2 
Siegfried  Idyll  2        2 
Kaiser  March  1 
Songs 

"Schmerzen"  2 

"Im  Treibhaus"  2 

"Stehe  Still"  2 

"Traume"  3 


85 


WEBER— Overture,  "Der  Freischutz"  3 

Overture,  "Oberon"  2         1 
Invitation  to  the  Dance  (arranged  by 

Weingartner)  1         2 

1911 — During  the  Seventieth  Season — 1912 
620th  to  696th  Concert 

JOSEF  STRANSKY  CONDUCTOR 


N.Y.    On  Tour 

BACH — Brandenburg  Concerto  No.  3,  in 

G-Major  2 

Concerto  in  C-Major,  for  two  Pianos 

and  Orchestra  2 

BARGIEL— " Adagio,"  Op.  38,  for  Violon- 
cello and  Orchestra  2         1 
BEETHOVEN— Symphony  No.  3,  in  E- 

flat-major,  Op.  55,  "E-oica"  2 

Symphony  No.  5,  in  C-Minor,  Op.  67  2 
Symphony  No.  8,  in  F-Major,  Op.  93  3 
Symphony  in  C-Major,  "Jena"  1 

Overture,  "Leonore  No.  3"  2        3 

Concerto    in    D-Major,    Op.    61,    for 

Violin  and  Orchestra  2         1 

Concerto    No.    5,    in   E-flat,    Op.    73, 

"Emperor"  for  Piano  and  Orchestra    1 
BERLIOZ— Symhony  No.  3,  in  G,  "Harold 

in  Italy"  2 

Overture.  "The  Corsair,"  Op.  21 
Rakoczy  March  3         1 

BOYLE,  George  F.— Concerto  in  D-Minor, 

for  Piano  and  Orchestra  3         1 

BRAHMS — Symphony  No.  1,  in  C-Minor, 

Op.  68  22 

Variations  on   Haydn's  "Chorale   St. 

Antoni,"  Op.  56a  2 

Concerto  No.  1,  in  D-Minor,  Op.  15, 
for  Piano  and  Orchestra  2 


86 


BROOME,  Edward— "A  Hymn  of  Trust," 

for  solos,  chorus  and  orchestra  1 

BRUCKNER— Symphony  No.  5,  in  B-flat- 

Major  2 

CADMAN— "When  Cherries  Bloomed  1 

"At  the  Feast  of  the  Dead"  1 

(Japanese  Songs  with  Piano) 

CHARPENTIER— Aria,  "Depuis  le  jour," 

from  "Louise"  2 

CHOPIN— Concerto  No.  2,  in  F-Minor, 

Op.  21,  for  Piano  and  Orchestra          2 

DEBUSSY— "Mandoline,"     (Song     with 

Piano)  3         2 

DELIUS — Tone  Poem,  "In  a  Summer 

Garden"  2 

DONIZETTI— Aria,  "Una  furtiva  lagri- 
ma,"  from  "L'Elisir  d'Amore"  for 
Tenor  1 

DVORAK— Symphony  No.  5,  in  E-Minor, 

Op.  95,  "The  New  World"  4        7 

Symphony  in  E-flat,  "Posthumous"          2 
Rondo,  Op.  94,   for  Violoncello  and 

Orchestra  2         1 

FRANCK,  Cesar — Symphony  in  D-Minor    2         4 
Morceau  Symphonique  from  "The  Re- 
demption" 3 

GLAZOUNOW— Concerto    in    A-Minor, 

Op.  82,  for  Violin  and  Orchestra          3 

GLUCK— Overture,  "Iphigeneia  in  Aulis" 

(Wagner  ending)  3 

GOLDM  ARK— Symphony  in  E-flat-Major, 

Op.  26,  "A  Rustic  Wedding"  2 

GOUNOD— Aria,    "Salve    dimora,"  from 

"Faust"  for  tenor  2 

GRIEG— Overture,  "In  Autumn,"  Op.  11      2 
Two  Elegiac  Melodies,  for  String  Or- 
chestra, Op.  34,  a.  "Heart  Wounds"  ;     4        2 
b.  "The  Last  Spring"  4        8 

HAYDN— Symphony  in  D-Major  (B.&H. 

No.  2)  2 

Symphony  in  C-Minor  (B.&H.  No.  9)     3 

87 


HERBERT,  Victor— Prelude  to  Act  111, 

"Natoma"  1 

LAUCELLA — Symphonic    Poem,    "Con- 
salve"  1 
LISZT — Symphony  after  Dante's  "Divina 

Commedia"  2 

Symphonic  Poem  No.  2,  "Tasso"  4       15 

Symphonic  Poem,  "Die  Ideale,"  Op.  12    2 
Hungarian  Rhapsody  No.  1,  in  F-Minor    1 
Concerto  No.  2,  in  A-Major,  for  Piano 
and  Orchestra  2 

MAHLER — Funeral    March    from    Sym- 
phony No.  5  2 
MENDELSSOHN— Symphony  No.  3,  in 

A-Minor,  Op.  56,  "Scotch"  1 

Overture,  "Ruy  Bias,"  Op.  95 
Scherzo — "A     Midsummer     Night's 

Dream"  1 

Concerto  in  E-Minor,  for  Violin  and 
Orchestra  1       12 

Oratorio,  "Elijah,"  for  solos,  chorus, 

and  Orchestra  1 

MOZART— Symphony  in  C-Major,  "Ju- 
piter" 2 
Overture,  "The  Magic  Flute"  2 
Overture,  "Die  Entfiihrung  aus  dem 

Serail"  3        2 

Aria,    "Dein   bin    ich,"    from    "II    re 

pastore"  1 

Aria,   "II   mio   Tesoro,"    from   "Don 

Giovanni"  2 

NOBLE,  T.  Tertius— Part  song  for  Chorus, 

"Fierce  was  the  Wild  Billow"  1 

POINTER— Part  song  for  Chorus,  "Tis 

sweet  to  hear  the  Merry  Lark"  1 

PUCCINI— Aria,    "Che    gelida    manina" 

from  "La  Boheme"  for  Tenor  1 

RACHMANINOFF— Song    with    Piano, 

"Springtide"  4         1 

REGER — Variations  and  Fugue  on  a  Merry 
Theme  by  Hiller,  Op.  100 

88 


RUBINSTEIN— Concerto  No.  5,  in  E-flat- 
Major,  Op.  94,  for  Piano  and  Or- 
chestra 2         3 
SAINT-SAENS— S  y  m  p  h  o  n  i  c    Poem, 

"Phaeton,"  Op.  39  2 

Introduction  and  Rondo  Capriccioso, 

Op.  28,  for  Violin  and  Orchestra          1       12 
Concerto    in    A-Minor,    Op.    33,    for 

Violoncello  and  Orchestra  1 

SCHUBERT— Symphony  in  C-Major  (B. 

&H.  No.  7)  3 

Overture,  "Rosamunde,"  Op.  26  2 

"Wanderer"   Fantasy   for   Piano  and 

Orchestra  (Liszt)  1 

Song  with  Piano,  "The  Erl-King"  3        2 

SCHUMANN— Symphony   No.    1,   in  B- 

flat-Major,  Op.  38  31 

Concerto  in  A-Minor,  Op.  54,  for  Piano 

and  Orchestra  2         1 

Song  with  Piano,  "Der  Nussbaum"         1 
SMETANA— Symphonic  Poem,  "Vltava"    4 
Symphonic  Poem,  "Vysehrad"  4 

STAHLBERG— Two  Symphonic  Sketches 

from  "Im  Hochland"  1 

STANCE— Song  with  Piano,  "Damon"        3        2 
STRAUSS— T  one  Poem,  "Death  and 

Transfiguration,"  Op.  24  3 

Love  Scene  from  "Feuersnot"  6        9 

Serenade    for    thirteen    wind    instru- 
ments, Op.  7  2 
SVENDSEN— Legend e    for    Orchestra, 

"Zorahayda,"  Op.  11  1 

TCHAIKOVSKY— Symphony  No.  4,  in  F- 

Minor,  Op.  36  48 

Symphony  No.  6,  in  B-Minor,  Op.  74, 

"Pathetique"  2         1 

Overture,  "1812"  3 

Concerto  in  B-flat-Minor,  Op.  23,  for 

Piano  and  Orchestra  1 

Concerto    in    D-Major,    Op.    35,    for 

Violin  and  Orchestra  1         2 


89 


Song    with    Piano,    "Im    wogenden 

Tanze"  1 

VAN  DER  PALS— Two  Symphonic 
Sketches,    Nos.    1    and   2,    Op.    14 

a.  "Autumn"  1 

b.  "Spring"  1 

WAGNER— Prayer,    "Almighty    Father," 

from  "Rienzi"  1 

Overture,  "The  Flying  Dutchman"          3 
Overture,  "Tannhaeuser"  3         4 

Elizabeth's  Aria,  from  "Tannhaeuser"  4 

Elsa's  Dream  from  "Lohengrin"  3 

Narrative,    "In    distant    land,"    from 

"Lohengrin"  1 

Prelude  and  Liebestod  from  "Tristan 

und  Isolde"  4        4 

Isolde's  Narrative,  from  "Tristan  und 

Isolde"  1         3 

Prelude,  "Die  Meistersinger"  4        8 

Wotan's    Farewell    and    Magic    Fire 

Scene  from  "Die  Walkiire"  1 

Siegfried's   Death   from   "Gotterdam- 

merung"  1         3 

Brunnhilde's  Immolation  and  Finale  from 

"Gotterdammerung"  2 

Prelude  and  Glorification  from  "Par- 
sifal" 2         1 
Good  Friday  Spell  from  "Parsifal"        2 
Siegfried  Idyll  4 
Kaiser  March                                               3 
Songs  with  Orchestra: 
"Stehe  Still"                                           2 
"Traume"                                                2 
"Schmerzen"                                             2 
WAGNER,  Siegfried— Overture,  "Bru- 

der  Lustig"  1 

WEBER— Overture,  "Euryanthe"  3         8 

Overture,  "Der  Freischutz"  4        8 

Scene  and   Aria    from   "  O  b  e  r  o  n  " 
(Ocean,  thou  Mighty  Monster)  2 

90 


WEINGARTNER— Symphony  No.  3,  in 

E-Major,  Op.  49  2 

WOLF,  Hugo — S  o  n  g  s  with  Orchestra, 

"Verborgenheit"  2 

"Der  Freund"  2 

"Er  Ist's"  (Spring)  2 

WOLF-FERRARI— Songs  with  Orchestra 

"Un  verde  praticello"  2 

"lo  dei  salute  ve  ne  mando"  2 

"E  tanto  c'  e  pericol"  2 

"O  si  che  non  sapevo"  2 


1912 — During  the  Seventy-First  Season — 1913 
697th  to  779th  Concert 

JOSEF  STRANSKY  -  -  -  CONDUCTOR 


N.Y.    On  Tour 

ALCOCK— Unaccompanied    Choral    Part 

Song,  "Voix  Celestes"  1 

AMBROSE— Part   Song   for   Chorus, 

"Stay  home  my  Heart"  1 

BEETHOVEN— Symphony  No.  1,  in  C- 

Major,  Op.  21 

Symphony  No.  5,  in  C-Minor,  Op.  67      2         6 
Symphony   No.   6,    "Pastoral"   in   F- 

Major,  Op.  68  4 

Symphony  No.  7,  in  A-Major,  Op.  92      4        6 
Symphony  No.  9,  in  D-Minor,  Op.  125, 

"Choral"  2 

Overture,  "Prometheus"  2 

Concerto  No.  3,  in  C-Minor,  Op.  37, 

for  Piano  and  Orchestra  1 

BERLIOZ— Overture,  "Benvenuto  Cellini," 

Op.  23  32 

BIZET— Suite  No.  1,  "L'Arlesienne"  4        1 

BRAHMS— Symphony  No.  3,  in  F-Major, 

Op.  90  2 

91 


Concerto    in    D-Major,    Op.    77,    for 

Violin  and  Orchestra  3         6 

Concerto  No.  2,  in  B-flat,  Op.  83,  for 

Piano  and  Orchestra  2 

Concerto   in  A-Minor,   Op.    102,   for 

Violoncello  and  Orchestra  2 

Song  with  Piano,  "Sapphic  Ode,  Op. 

94,  No.  4  2 

BROOME— Part    Song    with    Orchestra, 

"Hoist  the  Sail"  1 

BRUCH— Aria   of    Penelope    from 

"Odysseus,"  Op.  41  23 

Aria,  "Ave  Maria,"  from  "The  Cross 

of  Fire"  1       10 

Aria,  "Andromache's  Lament,"  from 

"Achilles"  2 

"Scotch"  Fantasy  for  Violin  and  Or- 
chestra 1 
Concerto  No.  1,  in  G-Minor,  Op.  26, 

for  Violin  and  Orchestra  3 

BRUCKNER— Symphony    No.   6,    in   A- 

Major  2 

CHOPIN— Concerto  No.  2,  in  F-Minor, 

Op.  21,  for  Piano  and  Orchestra          2 
CLAY,  Spencer — Song  with  Piano,  "The 

foggy  dew"  1 

COLERIDGE-TAYLOR— R  h  a  p  s  o  d  i  c 

Dance,  "Bamboula"  2 

Aria"  Onaway,  Awake  Beloved,"  from 

"Hiawatha,"  for  Tenor  1 

Part  Song  with  Orchestra,  "The  Lee 

Shore"  1 

CORELLI,  Arcangelo — Concerto  (Christ- 
mas) for  Violin  solo,  Strings  and 
Organ  2 

DEBUSSY— First  Rhapsody  for  Clarinet 

and  Orchestra  2         1 

DVORAK— Symphony  No.  5,  in  E-Minor, 

Op.  95,  "The  New  World"  3 

Overture,  "My  Home-Land,"  Op.  62      2 

92 


Overture,  "Carinval,"  Op.  92  46 

Serenade  for  Strings,  Op.  22  2 

ESPOSITO— S  o  n  g    with    Piano,    "The 

Lark  in  the  Clear  Air"  1 

FAURE — Song  with  Orchestra  for  Tenor, 

"Clair  de  Lune,"  Op.  46,  No.  2  2 

FRANCK,  Cesar — Symphony  in  D-Minor    2 
Tone  Poem,  "The  Wild  Huntsman"        2 
GARDINER— Choral  Ballad,  "News  from 

Whydah"  1 

GERMAN — Unaccompanied    Part    Song, 

"My  bonnie  lass"  1 

GERNSHEIM— T  o  n  e    Poem,   "To  a 

Drama,"  Op.  82  1 

GLUCK— Overture,  "Alceste"  4 

GOLDMARK— Symphony,   "A  Rustic 

Wedding,"  Op.  26  22 

Overture,  "Sakuntala,"  Op.  13  1 

GRAENER — Symphonietta  for  Strings  and 

and  Harp,  Op.  27  1 

GRIEG— Suite  No.  1,  "Peer  Gynt"  2        7 

Two    Elegiac    Melodies    for    Strings, 
Op.  34 

a.  "Heart  Wounds"  1         1 

b.  "The  Last  Spring"  1         1 
Concerto    in    A-Minor,    Op.    16,    for 

Piano  and  Orchestra  2 

HADLEY— Overture,  "In  Bohemia"  1 

Cantata,  Legend  of  Granada  1 

HAYDN— Symphony  in  D-Major  (B.&H. 

No.  2)  1 

Symphonv    in    G-Major,    "Surprise" 

'(B.&H.  No.  6)  2 

KNIGHT,    G.    H.— Unaccompanied    Part 

Song,  "Song  of  the  Bell"  1 

KORNGOLD,  Erich— Overture  to  a  Play     2 
LALO— Concerto  No.  1,  Op.  20,  for  Violin 

and  Orchestra  1 

LINDNER— Concerto  in  E-Minor,  Op.  34, 
for  Violoncello  and  Orchestra  1 


93 


LISZT— A  "Faust"  Symphony  2 

Symphonic  Poem,  "Tasso"  4 

Symphonic  Poem,   No.  3,  "Les   Pre- 
ludes" 4       12 
Symphonic  Poem,  No.  11,  "The  Battle 

'of  the  Huns"  2 

Concerto  No.  2,  in  A-Major,  for  Piano 

and  Orchestra  1         3 

MANNEY— Part  Song,  "A  Song  at  Sun- 
rise" 1 
MARSHALL— Song  with  Piano,  "I  hear 

you  calling  me"  1 

MASSENET— Overture,  "Phedre"  1 

Suite,  "Alsatian  Scenes"  2        4 

Aria  of  Chimene  from  "Le  Cid"  1 

"Le  Reve  de  Manon,"  from  "Manon" 

(for  Tenor)  2 

MENDELSSOHN— Symphony  No.  3,  in 

A-Minor,  Op.  56,  "Scotch"  2 

Overture,  "Melusina,"  Op.  32  21 

Overture,  "Ruy  Bias,"  Op.  95  1         6 

From  "A  Midsummer  Night's  Dream" 
Nocturne  1 

Scherzo  1         1 

Wedding  March  1 

MENDELSSOHN— Concerto  No.  1,  in  G- 

Minor,  Op.  25  2 

Concerto    in    E-Minor,    Op.    64,    for 

Violin  and  Orchestra  1 

MEYERBEER— A  r  i  a  ,    "O,    Paradise," 

from  "L'Africaine"  2 

MOZART — S  ymphony     in     G-Minor 

(Kochel  550)  2 

Symphony  in  C-Major,  "Jupiter"  1 

Overture,  "The  Marriage  of  Figaro"      3         2 
Overture,  "Cosi  fan  Tutte"  3 

French    Horn    Concerto,    in    E-flat- 

Major  2 

RAFF — Symphony  No.  5,  "Lenore,"  in  E- 

Major,  Op.  177  3 

94 


RATHBONE— C  a  n  t  a  t  a  ,   "Vogelweid" 

(Chorus)  2 

REGER— "A  Romantic  Suite,"  Op.  125        2 
Concerto  in  Old  Style,  Op.  123  1 

RHEINBERGER— "Vision,"  No.  5,  Op. 

156,  (for  Strings  by  A.  W.  Kramer)     1 
RITTER— Olaf's  "Wedding  Dance"  2 

ROSSINI— Overture,  "William  Tell"  1 

RUBINSTEIN— Ballet  Music,  "Feramors"   1         1 

Kamenoi  Ostrow,  No.  22  (Herbert)       1 
SAINT-SAENS— Symphony    No.    3,    in 

C-Minor,  Op.  78  2 

Symphonic  Poem,  No.  2,  "Phaeton," 
Op.  39  1 

Symphonic  Poem,  "Danse  Macabre," 
Op.  40  1 

"Spring  Song,"   for  Orchestra,   from 

"Samson  and  Dalila"  2 

Concerto    in    A-Minor,    Op.    33,    for 

Violoncello  and  Orchestra  2 

SCHUBERT— Symphony  in  C-Major  (B. 

&  H.  No.  7)  2        2 

Symphony  in  B-Minor,  "Unfinished"     2         1 
Ballet  Music  (from  "Rosamunde")          2 
Entr'acte  (from  "Rosamunde")  2         1 

Marche  Hongroise  (Liszt)  4 

Song  with  Piano,  "Restless  Love"  2 

Song    with    Piano,    "Death    and    the 

Maiden"  2 

Song    with    Orchestra,     (by    Mottl,) 

"Death  and  the  Maiden"  2         3 

Song  with   Orchestra,    (by   Berlioz,) 

"The  Erl-King"  2        3 

SCHULZ,  Leo — American  Festival  Over- 
ture 1 
SCHUMANN— Symphony  No.  3  (Rhen- 
ish), in  E-flat-Major,  Op.  97              2 
Overture,  "Manfred,"  Op.  115                2 
SMETANA— "From    Bohemia's    Woods 

and  Fields"  3        2 


95 


STAHLBERG — Symphonic    Scherzo, 

Op.  28  2 

STANFORD— Irish  Symphony,  Op.  28          1 
STRANSKY — Symphonic    Songs    with 

Orchestra,  "Moonrise"  2 

"Requiem"  2 

STRAUSS,   Richard— Tone   Poem,  "Don 

Juan,"  Op.  20  36 

Tone  Poem,  "Death  and  Transfigura- 
tion" 2         1 
Prelude  to  "Guntram"  2 
Love  Scene,  "Feuersnot"  1         4 
Songs  with  Orchestra: 

"Hymn  of  Love,"  Op.  32,  No.  3         1        6 
"To-morrow,"  Op.  7,  No.  4  16 

"Cacile,"  Op.  27,  No.  2  15 

STRAUSS,  Johann— Waltz,  "Blue   Dan- 
ube" 1 
TCHAIKOVSKY— Symphony  No.  4,  in 

F-Minor,  Op.  36  1 

Symphony  No.  5,  in  E-Minor,  Op.  64    4       10 
Symphony  No.  6,  in  B-Minor,  Op.  74, 

"Pathetique"  3 

Fantasy   Overture,   "Romeo   and     Ju- 
liet" 2 
Concerto  No.  1,  in  B-flat-Minor,  Op. 

23,  for  Piano  and  Orchestra  2 

Concerto    in    D-Major,    Op.    35,    for 

Violin  and  Orchestra  2         1 

VIVALDI — Concerto    in    G-Minor,     for 

Violin  and  Orchestra  1 

WAGNER— Overture,  "Rienzi"  4        1 

Overture,  "The  Flying  Dutchman"          4        4 
Overture,  "Tannhaeuser"  1        4 

Elizabeth's     Aria,     "Dich,     t  h  e  u  r  e 

Halle,"  from  "Tannhaeuser"  1         7 

Prelude  Act  III,  "Tannhaeuser's  Pil- 
grimage" 1 
Prelude,  "Lohengrin"                                3 
Prelude  to  Act  III,  "Lohengrin"  1 


96 


Elsa's  Dream,  "Lohengrin"  1         6 

Prelude  and  Liebestod  from  "Tristan 

und  Isolde"  4         1 

Prelude,  "Die  Meistersinger"  3         2 

Prize  Song,  for  Violin,  by  Wilhelmj, 

from  "Die  Meistersinger"  1 

Prize    Song,    for   Tenor,    from    "Die 

Meistersinger"  2 

Ride    of    the    Valkyries,    from    "Die 

Walkiire"  5        2 

"Waldweben,"  from  "Siegfried"  4         1 

Siegfried's  Death  and  Funeral  March, 

from  "Gotterdammerung"  2 

Siegfried's    Rhine    Journey,    from 

"Gotterdammerung"  4 

Good  Friday  Spell,  from  "Parsifal"        4        1 
Siegfried  Idyll  1        2 

A  Faust  Overture  4 

Songs  with  Orchestra: 

"Dreams"  2        3 

"Slumber  Song"  2 

WEBER— Overture,  "Euryanthe"  4 

Overture,  "Der  Freischiitz"  1 

Overture,  "Preciosa"  2 

Song  with  Piano,  "Folk  Song"  2 

WEINGARTNER— A    Merry    Overture, 

Op.  53  33 

WOLF— Song  with  Piano,  "The  Friend"       2 

1913 — During  the  Seventy-Second  Season — 1914 
780th  to  850th  Concert 

JOSEF  STRANSKY  -  CONDUCTOR 


N.Y.    On  Tour 

BACH— Prelude,  Choral  and  Fugue  (ar- 
ranged by  Abert)  4        2 
Brandenburg  Concerto  No.  3,  in  G- 
Major  1 

97 


BARGIEL— "Adagio,"     for     Violoncello 

and  Orchestra  i 

BEETHOVEN— Symphony     No.     3,     in 

E-flat-Major,  Op.  55,  "Eroica"  3 

Symphony  No.  5,  in  C-Minor,  Op.  67     3 
Symphony  No.  6,  in  F-Major,  Op.  68, 

"Pastoral"  2 

Symphony  No.  8,  in  F-Major,  Op.  93     3        2 
Overture,  "Fidelio"  3        2 

Overture,  "Leonore  No.  3"  1         1 

Concerto    in    D-Major,    Op.    61,    for 

Violin  and  Orchestra  2 

Romance,  in  F-Major,  for  Violin  and 

Orchestra  3 

"Adelaide,"  with  Orchestra  1 

Two  Songs  with  Orchestra  from  "Eg- 

mont" — "Freudvoll    und    Leidvoll" 

and  "Die  Trommel  geriihret"          .     1 
"Minuet,"  for  Violin,  with  Piano  ac- 
companiment 1 
BERLIOZ — S  y  m  p  h  o  n  i  e    Fantastique, 

No.  1,  in  C-Major,  Op.  14a  2 

Overture,  "King  Lear,"  Op.  4  21 

Overture,     "Le     Carnaval     Remain," 

Op.  9  22 

"The    Death    of    Dido,"    from    "The 

Trojans,"  with  Orchestra  1 

BIZET— Suite  No.  1,  "L'Arlesienne"  2         1 

Aria    of    Micaela,     from    'Carmen," 

with  Orchestra  1 

BOCCHERINI— "Minuet"  1 

BRAHMS — Symphony  No.  2,  in  D-Major, 

Op.  73  2 

Variations   on   a   Theme   of    Haydn, 

Op.  56a  1 

Two  Hungarian  Dances  2 

"Von     Ewiger     Liebe,"     Standchen," 

"Der  Schmied"  (Songs  with  Piano)      1         1 


98 


BRUCH— Concerto   No.   2,   in   D-Minor, 

Op.  44,  for  Violin  and  Orchestra        2 
Concerto    in    G-Minor,    Op.    26,    for 
Violin  and  Orchestra  2        7 

CHADWICK— Overture,  "Euterpe"  1 

Stabat    Mater    Speciosa     (Unaccom- 
panied) 2 

CHARPENTIER— Suite,  "Impressions  of 

Italy"  2 

Aria,  "Depuis  le  jour,"  from  "Louise"  2 

COOLIDGE— Mother  Goose  Nursery 
Rhymes  (Traditional),  "Little  Boy 
Blue,"  "Ding  Dong  Bell,"  "Little 
Miss  Muffett,"  "Solomon  Grundy" 
( Songs  with  Piano)  1 

D'ALBERT— C oncerto    in    C-Major, 

Op.  20,  for  Violoncello  and  Orchestra  2 

DEBUSSY— Prelude    to    "L'Apres    Midi 

d'un  Faune"  2        4 

DELIBES— From     "Sylvia— Valse     lente 

and  Pizzicato  1 

DUKAS— "L'Apprenti    Sorcier"    Scherzo 

—After  a  Ballad  of  Goethe  4        9 

DVORAK— Symphony  No.  5,  in  E-Minor, 

Op.  95,  "The  New  World"  3         1 

Two  Slavic  Dances,  Nos.  1  and  3  1 

"Rondo,"  for  Violoncello  and  Orches- 
tra 1 

FLECK— "Abseits"  (Song  with  Orches- 
tra) 1 

GILBERT— A  Comedy  Overture  on  Ne- 
gro Themes  2 

GLINKA— Fantasia,  "Kamarinskaja"  1 

GODARD— Symphony  Orientale,  Op.  84       2 

GOLDMARK— "Rustic  Wedding,"   Sym- 
phony, Op.  26  1 
Overture,  "Spring"                                     3 

GRfiTRY-MOTTL— Ballet  Suite  3        2 

GRIEG— Lyric  Suite  1         1 

"Peer  Gynt"  Suite  No.  1,  Op.  46  1 

99 


Two  Norwegian  Dances  1 

Lento  Funebre    (Orchestrated  by  A. 

Walter  Kramer)  1 

Concerto    in    A-Minor,    Op.    16,    for 

Piano  and  Orchestra  2         1 

HANDEL — Concerto  Grosso,  in  C-Major, 

for  Orchestra  2 

Largo  1 

HAYDN — Symphony  in  G-Major   (Mili- 

taire)  1 

Symphony  in  G-Major  (Surprise)  1 

Second  Movement,  Symphony  in 

G-Major  (Surprise)  1 

HUMISTON— Southern  Fantasy  1 

INGRAHAM— A  Nonsense  Rhyme,  "The 
Owl  and  the  Pussy  Cat"  (Song 
with  Piano)  1 

KOECHLIN— "Si    tu    le    veux"     (Song 

with  Piano)  1 

LA  FORGE— "Expectancy"    (Song  with 

Piano)  1 

LALO— Overture  to  "Le  Roi  d'Ys"  2 

Concerto  in  D,   for  Violoncello  and 

Orchestra  1 

LANG— Wind  (for  Double  Chorus,  Eight 

Parts,  Unaccompanied)  2 

LISZT — A  Symphony  to  Dante's  "Divina 
Commedia"  (for  Orchestra  and 
Chorus)  2 

Symphonic  Poem,  "Tasso — Lamento  e 

Trionfo" 

Symphonic  Poem,  "Les  Preludes"  3        3 

Hungarian  Rhapsody  No.  1,  in  F          2        3 
Rakoczy  March  1 

"Drei  Zigeuner"  (Song  with  Piano)         1 
LISZT — SEIDL — Spanish  Rhapsody  2 

MASSENET— Suite,    "Scenes    Pitto- 

resques"  1 

Posthumia  Aria,  from  "Roma,"  with 
Orchestra  1 


100 


"Gavotte,"  from  "Manon,"  with  Or- 
chestra 1 
"Ouvre  tes  yeux  bleus"   (Song  with 
Piano)  1 

MENDELSSOHN— Overture,     "Fingal's 

Cave"  2 

From  "A  Midsummer  Night's  Dream" : 
"Nocturne"  1 

"Scherzo"  2 

Concerto  in  E-Minor,  Op.  64,  for  Vio- 
lin and  Orchestra  2 

MOLIQUE — Andante  —  from  Concerto, 
Op.  45,  for  Violoncello  and  Or- 
chestra 1 

MOSZKOWSKI— Spanish  Dance  1 

MOUSSORGSKY— "Hopak"  (Song  with 
Piano) 

MOZART— Overture,    "Figaro's    Wed- 
ding" 2 
Concerto,    in   A-Major,    for   Clarinet 

and  Orchestra  1 

Aria,  "Deh  vieni  non  tardar,"   from 

"Nozze  di  Figaro"  1 

Biondina's    Aria    from    "Entfiihrung 
aus  dem  Serail,"  (with  Orchestra) 

NICOLAI— Overture,   "Merry  Wives  of 

Windsor"  1 

NOREN— "Kaleidoscope,"  Original  Theme 

and  Variations  for  Orchestra  2 

OFFENBACH— Entr'acte       (Barcarole), 

from  "Tales  of  Hoffmann"  1 

OLD  NEGRO  FOLK  SONGS  AND 
TALES— "Swing  Low,  Sweet 
Chariot"  (Primitive  and  Unaccom- 
panied) ;  "I'm  Gwine  to  Alabamy" 
(Harmonized  by  H.  T.  Burleigh)  ; 
"I'm  a  Seekin'  fo'  a  City,  Hallelu- 
jah" (Harmonized  by  H.  T.  Bur- 
leigh) ;  "Sat'd'y  Night"  (A  Play 
Song),  (Primitive)  ;  "Uncle  Remus" 


101 


Story  of  the  Wonderful  Tar  Baby" 
(Joel  Chandler  Harris)  1 

PFITZNER— "Sonst"  (Song  with  Piano)     1 
PIERNfi — Le    Mariage    de    Marion    (for 

Chorus,  Unaccompanied)  2 

POPPER— "Elfentanz,"    with    Orchestra 
(for  Violoncello)  1 

RACHMANINOFF— "Peasant        Song," 

with  Orchestra  2 

REGER— A  Ballet  Suite,  Op.  130  4 

RICKETT— M  o  t  h  e  r  Goose   Nursery 
Rhymes    (Traditional),    "Georgy, 
Porgy,"    "Pussy    Cat,"    "Ba,     Ba, 
Black     Sheep,"     "Baby     Bunting," 
"Mistress    Mary"    (Songs   with    Pi- 
ano) 1 
RIMSKY-KORSAKOFF— Capriccio   Es- 

pagnol,  Op.  34  3 

"Chanson  Indoue,"  (with  Orchestra)  2 

"Shepherd  Lehl,"  (with  Orchestra)  2 

"To  Gather  Berries,"  from  the  Opera 
"Snegourotchka"    (Song    with    Pi- 
ano) 1 
Air    from    the    Opera    "The    Czar's 

Bride"  (Song  with  Piano)  1 

ROPARTZ— Symphonic    Etude,    "The 

Hunt  of  Prince  Arthur"  2 

ROSSINI— Overture,  "William  Tell'  1 

RUBINSTEIN "Der  Pandero"  (Song 

with  Piano)  1 

SAINT-SAENS — S  y  m  p  h  o  n  i  c     Poem, 

"Danse  Macabre,"  Op.  40  1 

Concerto  No.  4,  in  C-Minor,  Op.  44, 

for  Piano  and  Orchestra  1 

Introduction  and  Rondo  Capriccioso, 

Op.  28,  for  Violin  and  Orchestra          2         5 
Aria,  "Samson,  recherchant  ma  pres- 
ence," from  "Samson  and  Delilah," 
with  Orchestra  2         1 

Spring  Song,  from  "Samson  and  De- 
lilah," with  Orchestra  1 

102 


Caprice  sur  des  airs  Danois  et  Russes, 
for  Flute,  Oboe,  Clarinet  and  Pi- 
ano, Op.  79  1 
SARASATE— "Zigeunerweisen,"  for  Vio- 
lin, (with  Piano  Accompaniment)  1 
SCHARWENKA— Polish  National  Dance     1 
SCHUBERT — Symphony    in    C-Major, 

No.  7  1 

Symphony  in  B-Minor,  "Unfinished"       3         1 
Entr'acte    and     Ballet     Music     from 

"Rosamunde"  1 

"Du  bist  die  Ruh,"  (with  Orchestra) 

arranged  by  Arnold  Schonberg)  2 

Ellen's  Songs  (Nos.  1,  2  and  3),  from 
Sir  Walter  Scott's  "Lady  of  the 
Lake,"  orchestrated  by  Henry  J. 
Wood. 

"Soldier  Rest,  Thy  Warfare  O'er"  1  2 
"Huntsman  Rest,  Thy  Chase  Is  Done"  1  2 
"Ave  Maria"  1  2 

SCHUBERT,    Wilhelmj— "Ave    Maria," 
for  Violin,  with  Piano  Accompani- 
ment 1 
SCHUMANN— Symphony  No.  3,  in  E-flat- 

Major,  Op.  97  (Rhenish)  1 

Overture,  Scherzo  and  Finale,  Op.  52      2 
Concerto    in    A-Minor,    Op.    54,    for 

Piano  and  Orchestra  1 

Concerto   in   A-Minor,   Op.    129,    for 

Violoncello  and  Orchestra  1 

SECCHI — "Lungi  dal  caro  bene"   (Song 

with  Piano)  1 

SMETANA— Symphonic  Poem,  "Vltava"  1 

STRAUSS,  J.— Waltz,  "Blue  Danube"  1 

Waltz,  "Wiener  Blut" 
Overture,  "Die  Fledermaus"  1 

Valse,  "G'schichten  aus  dem  Wiener- 

wald"  1 

STRAUSS,  R.— Tone  Poem,  "Death  and 

Transfiguration,"  Op.  24  25 

Tone  Poem,  "Don  Juan,"  Op.  20  1 

103 


Tone  Poem,  "Ein  Heldenleben,"  Op.  40  2 
Festival    Prelude,    Op.    61,    for    Or- 
chestra and  Organ  2 
Love  Scene  from  "Feuersnot"  1 
Songs  with  Piano: 

"Morgan"  1         2 

"Heimliche  Aufforderung"  1         2 

SUPPfi— O  v  e  r  t  u  r  e,     "The     Beautiful 

Galathea"  1 

THOMAS,  A.— Overture,  "Mignon"  1 

TCHAIKOVSKY— Symphony   No.  4,  in 

F-Minor,  Op.  36  44 

Symphony  after  Byron's  "Manfred," 

Op.  58'  2        2 

Symphony  No.  5,  Op.  64,  in  E-Minor      1         5 
Second  Movement,  Symphony  No.  5, 

in  E-Minor,  Op.  64  1 

Symphony  No.  6,  in  B-Minor,  Op.  74, 

"Pathetique"  2         1 

Theme    and    Variations,    from    Suite 

No.  3,  Op.  55  1 

Marche  Slav,  Op.  31  5 

Overture,  "1812"  1 

The  Nutcracker  Suite  1 

Concerto  No.  1,  in  B-flat-Minor, 

Op.  23,  for  Piano  and  Orchestra         2 
Concerto    in    D-Major,    Op.    35,    for 

Violin  and  Orchestra  2 

VERDI— Aria,  "O  don  fatale,"  from  "Don 

Carlos,"  with  Orchestra  1 

WAGNER— Overture,  "Rienzi"  5        6 

Prayer,  from  "Rienzi"  2 

Aria,  "Gerechter  Gott,"  from  "Rienzi"  2  1 
Overture,  "The  Flying  Dutchman"  4  3 
Monologue,  from  "The  Flying  Dutch- 
man 1 
Overture,  "Tannhaeuser"  4  1 
"  Tannhaeuser's  Pilgrimage, "  from 

"Tannhaeuser"  2 

Prelude,  "Lohengrin"  1 

Prelude  to  Act  III,  "Lohengrin"  5        2 

104 


Narrative  from  "Lohengrin"  1 

Bridal     Chorus,     from     "Lohengrin" 

(with  Chorus)  1 

Prelude  and  Liebestod,  from  "Tristan 

und  Isolde"  5        4 

Prelude,  "Die  Meistersinger"  4 

"Am  Stillem  Herd"  from  "Die  Meis- 
tersinger" 1 
Prize  Song,  from  "Die  Meistersinger"    1 
"Prize    Song,"    from    "Die    Meister- 
singer"  for  Violin  and  Orchestra, 
Wilhelmj  arrangement                            1         3 
Chorus,  "Awake,"  from  "Die  Meister- 
singer" 1 
"Ride  of  the  Valkyries,"  from  "Die 

Walkiire"  6         5 

Wotan's    Farewell    and    Magic    Fire 

Scene,  from  "Die  Meistersinger"  1 

"Waldweben"  from  "Siegfried"  2        1 

Siegfried  Idyll  5         1 

"Schmiedelieder,"  from  "Siegfried"        2 
"Siegfried's    Rhine    Journey,"    from 

"Gotterdammerung"  4         1 

"Siegfried's    Death"    from    "Gotter- 
dammerung" 1 
Prelude,  "Parsifal"                                     2 
Good  Friday  Spell  from  "Parsifal"        4 
Prelude  and  Glorification  from  "Par- 
sifal"                                                         1 
A  Faust  Overture                                        2 
"Traume,"  (with  Orchestra) 
"Traume,"  (for  Violin  and  Orchestra)    1         3 
Kaiser  March                                               2 
WEBER— Overture,  "Der  Freischutz"          1 
Overture,  "Oberon"                                    3 
WOLF— "Verborgenheit,"     "In     dem 
Schatten  meiner  Locken," 
Tretet  ein,  hoher  Krieger," 
"Er  ist's  (Songs  with  Piano)                2 
WOLF-FERRARI— "Rispetto"    (Song 

with  Piano)  1 

105 


1914 — During  the  Seventy-Third  Season— 1915 
851st  to  931st  Concert 

JOSEF  STRANSKY  -  CONDUCTOR 


N.Y.    On  Tour 

BACH — Prelude,  Choral  and  Fugue  (ar- 
ranged by  Abert)  2 
Suite  in  D-Major  3 
Shepherd   Music,    from   the    "Christ- 
mas Oratorio"  1 
BEETHOVEN— S  y  m  p  h  o  n  y  No.  3,  in 

E-flat-Major,  Op.  55,  "Eroica"  2 

Symphony  No.  5,  in  C-Minor,  Op.  67      4        2 
Symphony  No.  7,  in  A-Major,  Op.  92     3 
Overture,  "Coriolanus,"  Op.  62  11 

Overture,    "The    Dedication    of    the 

House"  2 

Overture,  "Leonore  No.  3,"  Op.  72          2        2 
Concerto    in    D-Major,    Op.    61,    for 

Violin  and  Orchestra  3 

Triple  Concerto,  Op.  56,   for  Violin, 

Violoncello,  Piano  and  Orchestra          1 
Aria,  "Abscheulicher,  wo  eilst  du  hin," 

from  "Fidelio"  1 

Songs  with  Orchestra: 

"Freudvoll  und  Leidvoll"  1         3 

"Die  Trommel  geruhret"  1 

"Wonne  der  Wehmut"  1        2 

"Die  Himmel  ruhmen  des  Ewigen 

Ehre"  1         2 

"Adelaide"  2         1 

BELLINI— A  r  i  a  ,    "Casta    Diva,"    from 

"Norma"  2 

BERLIOZ— Overture,  "Benvenuto  Cellini"  2 

Overture,  "Carneval  Remain,"  Op.  9      3 
Excerpts    from   "The    Damnation   of 
Faust" 

Dance  of  the  Sylphs  4        4 

106 


Will-o'-the-Wisps  4        4 

Hungarian  March  4         5 

BIZET— Suite  No.  1,  "L'Arlesienne"  3         1 

BOCCHERINI— Menuetto  1 

BRAHMS — Symphony  No.  4,  in  E-Minor, 

Op.  98  3         1 

Tragic  Overture,  Op.  81  2 

Two  Hungarian  Dances  2         1 

Songs  with  Orchestra: 

"Wir  Wandelten,  wir  zwei"  2 

"Auf  dem  Kirchhofe"  2 

Songs  with  Piano : 

"Vor  dem  Fenster"  2        3 

"Nachtigall"  2 

"Standchen"  2 

"Der  Schmied"  2 

"Wiegenlied"  2 

"Feldeinsamkeit"  2         1 

"Schwalbe,  sag  mir  an"  2         1 

"Botschaft"  2        1 

BREWER— A.   Herbert— Song  with  Pi- 
ano, "The  Fairy  Pipers"  1 
BRUCH— Concerto  in  G-Minor,  Op.  26, 

for  Violin  and  Orchestra  1         1 

Scotch  Fantasy,   for  Violin  and  Or- 
chestra 1 
"Kol  Nidrei,"  for  Violoncello  and  Or- 
chestra                                                                2 
"Ave    Maria,"    from   "The   Cross   of 

Fire"  1 

BRUHNS— Songs  with  Piano: 

"Fairy   Toys,"    from   "Ib   and   Little 
Christina"     (Hans    Christian    An- 
derson) 1 
"Castle  Caramel"  1 
BUNGERT— Song  with  Piano,  "Die  Lore- 
ley"  1 
BURCK— "Meditation,"  for  strings                1 
CARPENTER— Songs  with  Piano: 

When  I  Bring  Colored  Toys"  1 

"Practising"  1 

107 


CHABRIER— Rhapsody     for    Orchestra, 

"Espana"  2 

CHARPENTIER— Aria,     "D  e  p  u  i  s     le 

jour,"   from  "Louise"  2 

CHOPIN— Polonaise,  Op.  40,  No.  1  1 

Concerto    No.    1,    in    E-Minor,    for 

Piano  and  Orchestra  2        3 

COOLIDGE,  Elizabeth— Songs  with  Piano : 
"Little  Boy  Blue"  1 

"Ding,  Dong  Bell"  1 

"Little  Miss  Muffett'  1 

"Solomon  Grundy"  1 

DELIBES— Ballet  Suite,  "Sylvia"  2 

DEBUSSY— Prelude,  "The  Afternoon  of 

a  Faun"  2        1 

Song  with  Piano,  "The  Little  Shep- 
herd" 1 
DUKAS— "The     Sorcerer's     Apprentice" 

Scherzo — After  a  Ballad  of  Goethe    4        4 
DVORAK— Symphony  No.  4,  in  G-Major, 

Op.  88  2 

Symphony    No.    5,    in    E-Minor, 

Op.  95,  "The  New  World"  4      14 

Overture,  "Carneval"  1 

Overture,  "Nature"  3 

Slavic  Dance  1 

FALCK — Songs  with  Piano: 

"The  World  is  so  Full  of  a  Number 
of  Things"   (Robert  Louis  Steven- 
son) 2 
"Marching  Song"  (Robert  Louis  Stev- 
enson) 2 
"Robert  E.  Lee"  1 
FOOTE— Four  Character  Pieces,  Op.  48 
(After     the     Rubaiyat     of     Omar 
Khayyam)  1         1 
FRANCK — Symphonic     Variations,     for 

Piano  and  Orchestra  1 


108 


GERMAN— Song  with  Piano,  "The  Cam- 
el's Hump,"  from  the  "Just  So" 
Stories  of  Rudyard  Kipling  2 

GEVAERT— Song  with  Piano :  "Entre  le 
boeuf  et  1'ane  gris"  (arranged  by 
Carl  Engel)  ,  1 

GLUCK — Overture,  "Iphigeneia  in  Aulis" 

(Wagner  ending)  1 

GOLDM ARK— Symphony,    "A    Rustic 

Wedding,"  Op.  26  1 

GOTTSCHALK,  Louis— Songs  with  Pi- 
ano:   "Pocahontas,"   "Benjamin 
Franklin,"    "George    Washington," 
"Thomas    Jefferson,"    "Lafayette," 
"Abraham  Lincoln"  1 

GRETRY— Aria,    "Naissantes    fleurs," 

from  "Cepale  et  Procris"  2 

GRIEG— "Peer  Gynt,"  Suite  No.  1  12 

"Peer  Gynt,"  Suite  No.  2  2 

Solvejgs's   Song,   from  "Peer  Gynt," 

Suite  No.  2  1 

Two  Elegiac  Melodies  for  String  Or- 
chestra, Op.  34: 

"Heart  Wounds"  1 

"The  Last  Spring"  1 

Concerto    in    A-Minor,    Op.    16,    for 

Piano  and  Orchestra  1         1 

Song  with  Piano:   "Ein  Traum"  1 

HADLEY— Tone  Poem,  "Lucifer"  2 

HAENDEL— Concerto,  for  Oboe,  Organ 

and  Strings  1 

HAYDN— Symphony  in  G-Major,   "Sur- 
prise" 1         1 
Symphony  in  C-Minor,  Op.  9  (B.  & 

H.)  2 

"Farewell"  Symphony  1 

HERBERT— Love  Scene,  from  Suite  for 

String  Orchestra  1 

American  Dance,  "Al  Fresco"  1 

HERMANN,    Hans— Song    with    Piano, 

"Freund  Husch"  1 

109 


HINTON— "Endymion,"  Suite  No.  1  1 

HUMPERDINCK— Prelude    and    Dream 

Music,  from  "Haensel  and  Gretel"      2 
Song  with  Orchestra,  "Es  schaukeln 

die  Winde"  1 

INGRAHAM,  George — Song  with  Piano, 

"The  Owl  and  the  Pussy  Cat"  1 

JENSEN— Songs   with   Piano;   "Waldes- 

gesprach,"  "Am  Ufer  des  Flusses"  1 
KAHN— Song  with  Piano,  "Praeludium"  1 
KORNGOLD— Sinfonietta,  Op.  5  2 

LAUCELLA— Prelude  and  Temple  Dance     1 
LIEURANCE— Song  with  Piano,  "Lulla- 
by" (Indian  Song) 

LISZT — Symphony  to  Dante's  "Divina 
Commedia"  (for  Chorus,  Soprano 
Solo  and  Orchestra)  2 

Symphonic  Poem,  "Les  Preludes"  1 

Symphonic  Poem,  "Tasso"  3 

Hungarian  Rhapsody  No.  1,  in  F  4 

Hungarian    Rhapsody    No.    2    (Or- 
chestrated by  Miiller-Berghaus)  2 
Hungarian    Fantasy,    for    Piano    and 

Orchestra 
Concerto  in  E-flat-Major,   for   Piano 

and  Orchestra  2 

MAC  DOWELL— Suite  No.  2,  "Indian," 

Op.  48  1 

MAYSEDER-HELLMESBERGER— Ball 

Scene  1 

MfiHUL — Overture,  "La  Chasse  du  jeune 

Henri"  2 

MENDELSSOHN— Overture,     "Fingal's 

Cave"  1 

From  "A  Midsummer  Night's  Dream" 
Nocturne  1 

Scherzo  2 

Wedding  March  1 

Concerto    in    E-Minor,    Op.    64,    for 
Violin  and  Orchestra  1 


110 


Songs  with  Piano;  "Auf  Fliigeln  des 

Gesanges,"  "Gruss,"  "Der  Mond"         1         1 

MOLIQUE — Andante,  for  Violoncello  and 

Orchestra  2 

MONTEVERDI— Aria,  "II  Lamento  d'Ari- 

anna,"  for  Soprano  and  Orchestra       3 

MOSZKOWSKI— Spanish   Dance,    "Ma- 

laguena"  2 

MOZART — Symphony  in  C-Major,  "Ju- 
piter" 1 
Aria  of  Donna  Anna,  "Non  mi  deo," 
from  "Don  Giovanni,"  for  Soprano 
and  Orchestra                                          2 
Aria,   "Voi  che   Sapete,"   from  "The 

Marriage  of  Figaro"  1 

Aria,  "Dove  So  no,"  from  "The 

Marriage  of  Figaro"  1 

Song  with  Piano,  "Cradle  Song"  1 

NEIDLINGER,  W.  H.— Song  with  Piano, 

"The  Funny  Little  Gnome"  1 

NORWEGIAN  FOLK  SONGS— Swed- 
ish Folk  Song,  "Necken's  Polska," 
Ole  Bull,  "Saeterjenten's  Sondag," 
Swedish  Folk  Song,  "Varvindar 
friska,"  Ch.  Sinding,  "Det  skreg 
en  Fugl,"  H.  Kjerulf,  "A  Raevne 
la"  1 

PEEL— Song  with  Piano,  "The  Cow"  2 

POPPER— "Elfentanz,"    for    Violoncello 

and  Orchestra  4 

RACHMANINOFF— "Peasant    Song," 

with  Orchestra  3 

REGER— A  Ballet  Suite,  Op.  130  2 

Song   with   Orchestra,   "Waldeinsam- 

keit"  1 

Song  with  Orchestra,  "Maria  Wiegen- 
lied"  1 

RICKETT,  Edmond — Songs  with  Piano, 
"Pussy  Cat,"  "Ba,  Ba,  Black  Sheep," 
"Baby  Bunting,"  "Mistress  Mary"  1 


111 


RIMSKY-KORSAKOFF— Capriccio   Es- 

pagnol  2        6 

Symphonic      Suite,      "Scheherazade," 

Op.35  4 

Chanson  Indoue  (Song  with  Orches- 
tra) 

Shepherd  Lehl  (Song  with  Orchestra)     3 
ROGERS— Songs     with     Piano,     "Wind 

Song,"  "The  Star"  1 

ROPARTZ— Symphony  No.  4,  in  C-Major     1 
ROSSINI— Overture,  "William  Tell"  1 

Prayer,  from  "William  Tell"  2 

Aria,   "La    Danza,"    from    "Les 

Soirees  Musicales"  2 

RUBINSTEIN— B  a  1 1  e  t    Music,     from 

"Feramors"  1 

Concerto  No.  4,  in  D-Minor,  Op.  70, 

for  Piano  and  Orchestra  1 

SAINT-SAENS— Symphonic    Poem, 

"Danse  Macabre"  1 

Aria,  "Samson  et  Dalila"  1 

SCHUBERT Symphony   in   B-Minor, 

"Unfinished"  3        2 

Symphony  in  C-Major  1 

Ellen's  Songs  (Nos.  1,  2  and  3), 
from  Sir  Walter  Scott's  "Lady  of 
the  Lake,"  orchestrated  by  Henry  J. 
Wood: 

a.  "Soldier,     Rest,     Thy     Warfare 

O'er"  1         3 

b.  "Huntsman,  Rest,  Thy  Chase  Is 

Done"  1         3 

c.  "Ave  Maria"  1         3 
"Standchen"  1         1 
"Ave  Maria"                                                1 

SCHUMANN— S  y  m  p  h  o  n  y  No.    1,   in 

B-flat-Major,  Op.  38  2 

Concerto    in    A-Minor,    Op.    54,    for 

Piano  and  Orchestra  3         1 

SINDING— Song  with  Piano,  "Ein  Mai- 

entag"  1 

112 


SMETANA— Overture,    'The   Bartered 

Bride"  3         1 

Symphonic  Poem,  "Vltava"  3 

SPOHR— Concerto    No.    9,    in    D-Minor, 

for  Violin  and  Orchestra  3 

STOJOWSKI— Suite,  Op.  9,  for  Orchestra     1 
STRAUSS,  J.— Viennese  Waltz,  "South- 
ern Roses"  2 
Overture,  "Die  Fledermaus"  1 
STRAUSS,  Richard— Tone  Poem,  "Death 

and  Transfiguration,  Op.  24  14 

Tone  Poem,  "Don  Juan,"  Op.  20  32 

Symphonic  Poem,   "Till  Eulenspiegel 

and  His  Merry  Pranks"  4 

"Love  Scene,"  from  "Feuersnot"  1         1 

Songs  with  Orchestra: 

"Morgen"  2         1 

"Standchen"  1 

"Cacilie"  1         1 

Songs  with  Piano : 

"Meinem  Kinde"  1 

"Einkehr"  1 

STRAWINSKY— "Feuerwerk"  2         1 

SULLIVAN— The  Little  Gray  Lamb  (Re- 
citation with  Orchestra)  1 
SUPP£— Overture,  "Light  Cavalry"               1 
SZENDREI— Song    with    Piano,    "Weih- 

nachts  Legende"  1 

TCHAIKOVSKY— Symphony  No.  4,  in 

F.-Minor,  Op.  36  1         1 

Symphony  No.  5,  in  E-Minor,  Op.  64     3 
Symphony  No.  6,  in  B-Minor,  Op.  74, 

"Pathetique"  4         5 

Overture,  "Romeo  and  Juliet"  (Fan- 
tasy after  Shakespeare)  3 
Capriccio  Italienne,  Op.  45  51 
Suite,  "The  Nutcracker,"  Op.  71a  3 
Theme    and    Variations    from    Suite 

No.  3,  Op.  55  1 

Andante     Cantabile,     from     String 
Quartet,  Op.  11  2 

113 


TCHAIKOVSKY— Concerto  in  D-Major, 

Op.  35,  for  Violin  and  Orchestra          1 

Variations  on  a  Rococo  Theme,   for 

Violoncello  and  Orchestra  2        2 

Song  with  Piano,  "Child  Jesus  Once  a 
Garden  Made"  ( from  an  old  Russian 
legend  by  Pletschjew)  2 

THOMAS,  A.— Overture,  "Mignon"  1 

VERDI— Aria,  from  "La  Forza  del  De- 

stino"  2 

WAGNER— Overture,  "Rienzi"  2 

Overture,  "The  Flying  Dutchman"          4 

Aria,  "Die  Frist  ist  um,"  from  "The 
Flying  Dutchman"  2 

Prelude,  Act  I,  "Lohengrin"  3 

Prelude,  Act  III,  "Lohengrin 

Overture,  "Tannhaeuser"  5 

Bacchanale,  from  "Tannhaeuser"  2 

Aria,  "Dich,  theure  Halle,"  from  Tann- 
haeuser" 1 

Prelude  and  Liebestod,  from  "Tristan 
und  Isolde"  5 

Prelude  and  Liebestod  (with  Soprano 
and  Orchestra)  2 

Prelude,  "Die  Meistersinger"  5        4 

Entrance  of  the  Gods  into  Walhalla, 
from  "Das  Rheingold"  3 

Ride  of  the  Valkyries,  from  "Die 
Walkiire"  4  1 

"Waldweben,"  from  "Siegfried"  3         1 

Siegfried's  Rhine  Journey,  from  Got- 
terdammerung"  4  2 

Prelude  and  Glorification  from  "Parsi- 
fal" 1 

Good  Friday  Spell,  from  "Parsifal"      4 

A  Faust  Overture  2 

Siegfried  Idyll 

Dreams  3 

Songs  with  Orchestra: 

"Traume"  1 


114 


"Im  Treibhaus"  1 

"Schmerzen"  1 

WEBER— Overture,  "Der  Freischiitz"  3        2 

Overture,  "Oberon"  4        2 

Aria,   "Ocean,  du  Ungeheuer,"   from 

"Oberon"  2 

Aria  of  Agatha,  "Wie  nahte  mir  der 
Schlummer,"  from  "D  e  r  F  r  e  i- 
schiitz"  1 

WELLS— John    B.— Song    with    Piano, 

"The  Elf  Man"  1 

WOLFF— Song  with  Piano,  "Fairy  Tales"     1 

1915 — During  the  Seventy-Fourth  Season — 1916 
932nd  to  1018th  Concert 

JOSEF  STRANSKY  -  CONDUCTOR 


N.Y.    On  Tour 

BACH— Suite  in  D-Major  1        4 

Passacaglia,  for  Orchestra  (Esser)          1 
Prelude,  Choral  and  Fugue  (arranged 

by  Abert)  1         1 

"Magnificat"  (for  Soprano,  Contralto, 

Tenor  and  Bass  solos;  Chorus  and 

Orchestra)  3 

Concerto  in  D-Minor,  for  Piano  and 

Orchestra  1 

BEETHOVEN— S  y  m  p  h  o  n  y  No.  3,  in 

E-flat-Major,  Op.  55,  "Eroica"  3        2 

Symphony  No.  5,  in  C-Minor,  Op.  67  5         2 

Symphony  No.  8,  in  F-Major,  Op.  93  2        1 
Symphony  No.  9,  in  D-Minor,  Op.  125 
(for  Soprano,  Contralto,  Tenor  and 

Bass  solos;  Chorus  and  Orchestra)  3 

Overture,  "Coriolanus,"  Op.  62  4 

Overture,  "Egmont"  3        2 

Overture,  "Leonore  No.  3,"  Op.  72  2        2 

115 


Concerto   No.    5,    in   E-flat,    Op.    72, 

"Emperor,"  for  Piano  and  Orchestra     2 
Songs  with  Orchestra: 

"Freudvoll  und  Leidvoll"  1         2 

"Die  Trommel  geriihret"  1        2 

BERLIOZ— Overture,  "Benvenuto  Cellini," 

Op.  23  3 

Scherzo,  "Queen  Mab"  3        5 

BINGHAM— Orchestral  Fantasy  1 

BIZET— "Scenes  Bohemiennes"  1 

Suite  No.  1,  "L'Arlesienne"  2 

Aria  of  "Micaela,"  from  "Carmen"  1 

BOCCHERINI— Menuet  1 

BRAHMS— Symphony  No.  2,inD-Major, 

Op.  73  3 

Tragic  Overture,  Op.  81  2 

Concerto    in    D-Major,    Op.    77,    for 

Violin  and  Orchestra  2 

Songs  with  Piano : 
"Immer  leiser  wird  mein  Schlum- 
mer,"  "Botschaft,"  "Wenn  du  nur 
zuweilen  lachelst,"  "Der  Schmied," 
"Sandmannchen"  2 

"Auf  dem  See,"  "O  liebliche  Wan- 
gen"  1 
BRUCH— Concerto    No.    1,    in   G-Minor, 

Op.  26,  for  Violin  and  Orchestra  1 

CARPENTER— Song  with  Piano,  "When 

I  Bring  Colored  Toys"  2 

CHARPENTIER— Suite,  "Impressions  of 

Italy"  1 

Aria,  "Depuis  le  jour,"  from  "Louise"  1 

CHOPIN— Octave     Study    in     B-Minor, 

Op.  25,  No.  10  (for  Solo  Piano)          1 
CORNELIUS— Song    with    Piano,    "Em 

Ton"  1 

DARGOMISKY— "Cosatchoque,"  Fan- 

tansie  on  a  Cossack  Dance  1 

DEBUSSY— P  r  e  1  u  d  e  ,     "L'Apres-midi 

d'un  Faune"  2 

116 


DE  LANGE— Song  with  Piano,  "Dutch 

Serenade"  3 

DELIUS — C oncerto  in  C-Minor,   for 

Piano  and  Orchestra  1 

DUKAS— "The    Sorcerer's   Apprentice" 

Scherzo— After  a  Ballad  of  Goethe"     3         3 
DVORAK— Symphony  No.  4,  in  G-Major, 

Op.  88  23 

Symphony  No.  5,  in  E-Minor,  Op.  95, 

"The  New  World"  2        5 

Scherzo  Capriccioso  3         2 

Concerto   in   B-Minor,    Op.    104,    for 

Violoncello  and  Orchestra  1 

FIBICH— "At    Evening,"    Idyll    for    Or- 
chestra, Op.  39  2 
FRANCK,  Cesar — Symphony  in  D-Minor      1 
Symphonic  Variations,  for  Piano  and 

Orchestra  2         2 

GOLDM ARK— Symphony,    "A    Rustic 

Wedding,"  Op.  26  1 

Overture,  "Sakuntala,"  Op.  13  1 

Overture,  "Spring,"  Op.  36  4 

Concerto  in  A-Minor,  Op.  28,  for  Vio- 
lin and  Orchestra  2 
GOUNOD — Funeral  March  of  a  Marion- 
ette                                                            1 
GRAINGER— Shepherd's  Hey"  (English 
Morris   Dance   Tune),    Irish   Tune 
from    "County    Derry"    (for    Solo 
Piano)                                                        1 
GRIEG — Elegiac  Melodies  for  String  Or- 
chestra, Op.  34,  "Heart  Wounds," 
"The  Last  Spring"                                 1 
Concerto    in    A-Minor,    Op.    16,    for 

Piano  and  Orchestra  1         2 

HAYDN — First  Movement  of  Symphony 

No.  2,  in  D-Major  1 

Concerto  in  D-Major,  for  Violoncello 

and  Orchestra  3 

HORSMAN— "Bird   of   the   Wilderness" 

(Song  with  Piano)  1 

117 


KRAMER— Two  Sketches  for  Orchestra, 
Op.  37a : 

I.    Chant  Negre  1 

II.    ValseTriste  1 

LALO — Symphonic    Espagnole,    Op.    21, 

for  Violin  and  Orchestra  2 

LEHMAN— Song  with  Piano,  "Charmers' 

Song"  1 

LISZT— Symphonic  Poem,"  Les  Preludes"     3 

Symphonic  Poem,  "Tasso"  2        3 

Symphonic  Poem,  "The  Battle  of  the 

Huns" 

Symphonic  Poem,  "Orpheus" 
Hungarian  Storm  March 

Hungarian  Rhapsody  No.  2  24 

Concerto    No.    2,    in    A-Major,    for 

Piano  and  Orchestra  2 

Concerto  in  E-flat,  for  Piano  and  Or- 
chestra 2 
Hungarian    Fantasy,    for    Piano    and 

Orchestra  1         1 

Songs  with  Orchestra: 

"Es  muss  ein  Wunderbares  sein" 
"Angiolin  dal  biondo  crin"  1         1 

"Der  Fischerknabe"  3 

"Die  Lorelei"  3         1 

MAC    DOWELL— Symphonic    Poem, 

"Launcelot  and  Elaine,"  Op.  25 
MAHLER— Symphony  No.  4,  in  G-Major 

(for  Orchestra  and  Soprano  solo)       2 
MARYON— Poem,    "Sphinx,"    for   Bari- 
tone and  Orchestra  1 
MASSENET— Aria,    "Vision    Fugitive," 
from    "Herodiade,"    for    Baritone 
and  Orchestra  1 
MENDELSSOHN— Overture,     "Fingal's 

Cave,"  Op.  26  33 

Overture,  "Ruy  Bias,"  Op.  95 
Spring  Song  1 

118 


From  "A  Midsummer  Night's  Dream" 

Nocturne  1         1 

Scherzo  1 

MOSZKOWSKI— Serenade  1 

MOZART — Symphony    in    G- Minor 

(Kochel  550)  2 

Aria,  "II  re  Pastore"  1 

Aria,    "ZefFiretti    lusinghieri,"     from 

"Idomeneus"  1 

Aria,   "II  mio  tesoro   intanto,"   from 

"Don  Giovanni"  1 

NICOLAI— Overture,   "Merry  Wives  of 

Windsor"  1 

OLD  ENGLISH— Song  with  Piano,  "I've 

Been  Roaming"  1 

OLD  WELSH Song  with  Piano,  "All 

Through  the  Night"  1 

PADEREWSKI— Polish    Fantasia, 

Op.  19,  for  Piano  and  Orchestra         2        3 
PUCCINI— Aria,    "Un    Bel    Di,"    from 

"Mme.  Butterfly"  1 

REGER — Variations  and  Fugue  for  Or- 
chestra on  a  Theme  by  Mozart,  Op. 
132  4  5 

Valse  from  "Ballet  Suite"  1 

RIM  SKY  -  KORSAKOFF  —  Symphonic 

Suite,  "Scheherazade,"  Op.  35  1 

Capriccio  Espagnol  2         7 

ROGERS— Songs  with  Piano,  "The  Star"  3 

"Wind  Song"  1 

RUBINSTEIN— "Bal  Costume"  1 

SAINT-SAENS — Symphonic    Poem, 

"Danse  Macabre,"  Op.  40  1 

Symphonic  Poem,  "Le  Rouet  d'Om- 

"phale,"  Op.  31 

Symphonic  Poem,  "Phaeton,"  Op.  39      1 
March    Militaire    from    Suite, 

"Algerienne"  1 

Ballet  Music,  from  "Henry  VIII"  1 

Concerto  No.  4,  in  C-Minor,  Op.  44, 

for  Piano  and  Orchestra  1         1 


119 


Concerto    in    A-Minor,    Op.    33,    for 

Violoncello  and  Orchestra  2         2 

Aria,  "Mon  coeur  s'ouvre  a  ta  voix," 

from  "Samson  and  Dalila"  3 

SCHONBERG—  S  y  m  p h o n i  c    Poem, 

"Pelleas  and  Melisande"  2 

SCHUBERT— Symphony    in    B  -  Minor, 

"Unfinished"  2 

Entr'acte,  "Rosamunde"  1 

"Ave    Maria"    (for    Mezzo    Soprano 

and  Orchestra)  3 

"Standchen"  (Song  with  Orchestra)  1 

SCHUMANN— S  y  m  p  h  o  n  y  No.  2,   in 

C-Major,  Op.  61  1 

"Traumerei"  1 

Concerto    in    A-Minor,    Op.    54,    for 

Piano  and  Orchestra  2  2 

Songs  with  Piano,  "Rosebuds,"  "The 

Sandman"  and  "  Tis  He"  1 

Romanze  in  F- Sharp  for  Solo  Piano       1 
SEVERN — Concerto  in  D-Minor,  for  Vio- 
lin and  Orchestra  1 
SHARP — Song    with     Piano,     "Japanese 

Death  Song"  3 

SIBELIUS— Tone    Poem,    "Die    Okeani- 

den,"  Op.  73  2 

SMETANA— Sylmphonic    Cycle,    "Ma 

Vlast"  2 

Symphonic  Poem,  "Vltava"  2 

SOMERVELL— Song  with  Piano,  "Shep- 
herd's Lullaby"  1 
SPOHR— Overture,  "Jessonda,"  Op.  63         1 
STAHLBERG— S  u  i  t  e     for     Orchestra, 

Op.  33  1 

STANFORD-GRAINGER— "The  Lepre- 
chaun's Dance"  No.  3  of  Four 
Irish  Dances  (for  Solo  Piano)  1 

March    Jig    "Maguire's    Kick"    (for 
Solo  Piano)  1 

120 


STRANSKY— Symphonic  Songs  with  Or- 
chestra, "Moonrise"  2        2 
"Requiem"  2        2 
STRAUSS,    J.— Overture,    "Die    Fleder- 

maus"  1 

Valse,  "Wiener  Blut"  1 

STRAUSS— Tone    Poem,    "Don    Juan," 

Op.  20  3 

Tone    Poem,  "Life  of  a  Hero," 

Op.  40  3 

Tone  Poem,  "Death  and  Transfigura- 
tion," Op.  24  3 
Symphonic   Poem,   "Till  Eulenspiegel 

and  His  Merry  Pranks"  2 

Prelude  to  the  Opera  "Guntram"  2 

Finale  to  the  Opera  "Salome"   (with 

Soprano  Solo)  2 

Love  Scene,  from  "Feuersnot"  1         1 

Songs  with  Orchestra : 

"Gesang  der  Apollo  Priesterin"  1 

"Verfuhrung"  1 

"Morgen"  1 

Songs  with  Piano:    "Befreit,"  "Mor- 
gen," "Heimliche  Aufforderung"          1 
SUPPfi— Overture,  "Poet  and  Peasant"        1 
TCHAIKOVSKY— Symphony  No.  4,  in 

F-Minor,  Op.  36  6 

Symphony  No.  5,  in  E-Minor,  Op.  64    2         1 
Symphony  No.  6,  in  B-Minor,  Op.  74, 

"Pathetique" 

Fantasy-Overture  ,"Romeo  and  Juliet"      2         3 
"Nutcracker"  Suite  1 

Concerto  in  D-Major,  Op.  35,  for  Vio- 
lin and  Orchestra  1 
TCHAIKOVSKY  -  GRAINGER  —  Para- 
phrase   on    the    "Flower    Waltz," 
from  the  "Nutcracker"  Suite  1 
VERDI— Aria,  "Celeste  Aida"  1 
VOLKMANN— Concerto  in  A-Minor,  Op. 

33,  for  Violincello  and  Orchestra         1 

121 


WAGNER— Overture,  "Rienzi"  1 

Overture,  "The  Flying  Dutchman"          3 
Prelude,  "Lohengrin"  3         1 

Prelude  Act  III,  "Lohengrin"  4         1 

Overture,  "Tannhaeuser"  5        6 

Bacchanale,  "Tannhaeuser"  4 

Prelude  Act  III,  "Tannhaeuser"  1 

Prelude  and  Liebestod  from  "Tristan 

und  Isolde"  5        6 

Prelude,  "Die  Meistersinger"  6        6 

"Entrance  of  the  Gods  into  Valhalla," 

from  "Das  Rheingold"  4 

Ride    of    the    Valkyries,    from    "Die 

Walkiire"  2 

"Waldweben,"  from  "Siegfried"  4 

Siegfried's  Rhine  Journey,  from  "Got- 

terdammerung"  2 

Finale,     "Immolation     Scene,"     from 

"Gotterdammerung"  1 

Good  Friday  Spell,  from  "Parsifal"        2         1 
Prelude    and    Glorification,    from 

"Parsifal"  1 

Siegfried  Idyll  3         1 

Dreams  1         2 

Overture,  "The  Fairies"  2 

Songs  with  Orchestra: 

"Im  Treibhaus"  1 

"Traume"  2 

"Schmerzen"  1 

"Elsa's  Dream,"  from  "Lohengrin"  1 

WEBER— Overture,  "Euryanthe"  1 

Overture,  "Der  Freischutz"  1         1 

Overture,  "Oberon"  1 

"Invitation   to   the   Dance"    (Orches- 
trated by  Weingartner)  2 
Aria  with  Orchestra,  "Wie  nahte  mir 
der  Schlummer,"  from  "Der  Frei- 
chiitz"  1 


122 


WOLF — Songs  with  Piano: 

"Das  verlassene  Maegdlein"  1 

"Der  Tambour"  1 

"Er  ist's"  1 


The  1019th  to  the  1077th  Concert  were  included  in 
the  Tour  of  The  Philharmonic  Orchestra,  made  during 
the  Spring  of  1916. 

1916 — During  the  Seventy-Fifth  Season — 1917 
1078th  to  1167th  Concert 

JOSEF  STRANSKY  -  -  CONDUCTOR 


N.Y.    On  Tour 

BACH— Suite  in  D-Major  2 

Prelude,  Choral  and  Fugue  (Arranged 

by  Abert)  3        4 

Four  Chorales:  For  the  Christmas 
Festival ;  for  the  Fest  of  the  An- 
nunciation; for  the  Sixteenth  Sun- 
day After  Trinity,  "World,  Fare- 
well!"; for  the  Twenty  -  seventh 
Sunday  After  Trinity,  "Glory  Now 
to  Thee  be  Given"  1 

From  the  Mass  in  B-Minor;  Gloria 
in  excelis  Deo ;  Et  incarnatus ;  Cru- 
cifixus;  Et  resurrexit  (for  Chorus 
and  Orchestra)  1 

BEETHOVEN— Symphony  No.  3,  in  E- 

flat-Major,  Op.  55,  "Eroica"  3 

Symphony    No     4,    in    B-flat-Major, 

Op.  60 

Symphony  No.  5,  in  C-Minor,  Op.  67    3        7 
Symphony  No.  6,  in  F-Major,  Op.  68, 

"Pastoral"  1 

Symphony  No.  7,  in  A-Major,  Op.  92    2         2 
Overture,  "Coriolanus"  2 

Overture,  "Leonore  No.  3"  3 


123 


Concerto  in  D-Major,  Op.  61,  for  Vio- 
lin and  Orchestra  1 
Concerto    No.    5,    in   E-flat,    Op.    73, 

"Emperor,"  for  Piano  and  Orchestra      1         1 
Chorus,  "Nature's  Praise  to  God"  (for 

Chorus  and  Organ)  1 

BIZET— Suite  No.  1,  "UArlesienne"  1        2 

Suite,  "Child's  Play"  1 

Micaela    Aria    from    "Carmen,"    for 

Soprano  and  Orchestra  2 

BRAHMS— Symphony  No.  2,  in  D-Major, 

Op.  73  2 

Symphony  No.  4,  in  E-Minor,  Op.  98      2 
Academic  Festival  Overture  1 

Concerto    in    D-Major,    Op.    77,    for 

Violin  and  Orchestra  2         1 

Serenade  in  D-Major  2 

Two  Hungarian  Dances  1 

BRUCH— Concerto  in  G-Minor,  Op.  26, 

for  Violin  and  Orchestra  3 

CHABRIER— Rhapsody     for    Orchestra, 

"Espana"  3        3 

CHARPENTIER— Aria,  "Depuis  le  jour," 

from  "Louise"  1 

DEBUSSY— Prelude,  "L'Apres-midi  d'un 

Faune"  2        6 

Two  Nocturnes  for  Orchestra,  "Nu- 

ages,"  "Fetes"  3         1 

DELIBES— Ballet  Suite,  "Sylvia"  1 

Bell  Song,  from  "Lakme"  (with  Or- 
chestra) 1 
D'INDY— Prelude  to  Act  I,  "Fervaal"  1 
DUKAS— "The    Sorcerer's    Apprentice," 

Scherzo — After  a  Ballad  of  Goethe     3         1 
DUPARC— "L'Invitation   au    Voyage" 

(Song  with  Orchestra)  1 

DVORAK— Symphony  No.  4,  in  G-Major, 

Op.  88  12 

Symphony  No.  5,  in  E-Minor,  Op.  95, 

"The  New  World"  4        2 

Slavic  Dance  1 

124 


ECKERT— Concerto  for  Violoncello  and 

Orchestra  1 

FRANCK,  Cesar— Symphony  in  D-Minor     1         1 
Symphonic  Poem,  "The  Wild  Hunts- 
man" 1 
GADE — Symphony    No.    1,    in    C-Minor, 

Op.  5  1 

GEORGES— "Hymne    au    Soleil"    (Song 

with  Orchestra)  1 

GLAZOUNOW— Concerto  for  Violin  and 

Orchestra,  Op.  82  2 

GLUCK— Overture,  "Iphigenie  in  Aulis" 

(Wagner  ending)  1 

GOLDMARK— Symphony,   "A   Rustic 

Wedding,"  Op.  26  1        3 

Overture,  "Spring,"  Op.  36  33 

GOLDMARK,  Rubin— Symphonic  Poem, 

"Samson"  3 

GRAINGER— Suite,  "In  a  Nutshell"  2 

GRANADOS— "The    Nightingale,"    from 

"Goyescas"  (Song  with  Piano)  1 

GRIEG — Elegiac  Melodies  for  String  Or- 
chestra, Op.  34,  "Heart  Wounds," 
"The  Last  Spring"  2  8 

March  of  the  Dwarfs  1 

Concerto    in    A-Minor,    Op.    16,    for 

Piano  and  Orchestra  2 

"Margaretlein,"    "Erstes    Begegnen," 
"Lauf  der  Welt"    (Songs  with 

Piano)  1 

HADLEY — Symphonic  Fantasie,  in  E-flat, 

Op.  46  11 

HAENDEL— Largo    (for   Orchestra   and 

Organ)  1 

"Where'er  You  Walk,"  from  "Semele," 

for  Soprano,  Orchestra  and  Organ  1 

HAYDN— Symphony  in  G-Major,  "Sur- 
prise" 1 
Symphony  in  G-Major,  "Militaire"          1         1 
Symphony  in  G-Major,  "Oxford"            2 

125 


Last  Movement  of  the  "Farewell" 
Symphony  1 

HERBERT— American  Fantasy  1 

HUMISTON— A  Song  of  Evening  (Song 

with  Orchestra)  1 

HUM  PERDINCK— Prelude  to  "Haensel 

and  Gretel"  1         1 

Prelude  to  Act  III,  "Koenigskinder"       1 
JENSEN— "Am   Ufer   des    Manzanares" 

(Song  with  Piano)  1 

KLUGHARDT— Concerto    in    A-Minor, 
Op.    59,    for   Violoncello   and   Or- 
chestra 1 
LEHMANN— "The  Cuckoo"  (Song  with 

Piano)  1 

LEONCAVALLO— Aria  from  "Pagliacci"     1 
LISZT — "Faust"  Symphony  (for  Chorus 

and  Orchestra,  and  Tenor  Solo)  1 

Symphonic  Poem,  "Les  Preludes"          2        5 
Symphonic  Poem,  "Tasso"  1 

Symphonic  Poem,  "Die  Ideale"  No.  12    2 
Hungarian  Rhapsody  No.  1  33 

Hungarian  Rhapsody  No.  2  1 

Hungarian    Fantasy    for    Piano    and 

Orchestra  1         1 

Concerto  in  E-flat-Major,   for  Piano 

and  Orchestra  2        1 

"Die    Drei    Zigeuner,"    "Ueber    alien 

Gipfeln"  (Songs  with  Piano)  1 

MAC  DOWELL— Suite  No.  2,   Op.  48, 

"Indian"  1 

MENDELSSOHN "I  t  a  1  i  a  n"     Sym- 
phony 1 
Overture,  "Fingal's  Cave"  1         6 
From  "A  Midsummer  Night's  Dream 

Nocturne  1         1 

Scherzo  2         1 

Concerto  for  Violin  and  Orchestra  1 

MOSZKOWSKI— Malaguena  1 

MOUSSORGSKY— "Hopak"    (Cossack 

Song),  (with  Orchestra)  2         1 

126 


MOZART— Overture,  "Figaro's  Wedding"     2        1 

Overture,  "The  Magic  Flute"  1 

PUCCINI— Aria  from  "Tosca"  1 

RACHMANINOFF— "Diese    Herrliche 

Nacht"  (with  Orchestra)  2 

REGER — Variations  and  Fugue  for  Or- 
chestra on  a  Theme  by  Mozart,  Op. 
132  2  1 

RIMSKY-KORSAKOFF— Capriccio   Es- 

pagnol,  Op.  34  23 

ROSSINI— Overture,  "Barber  of  Seville"     1 
RUBINSTEIN— Concerto   No.  4,   in 
D-Minor,   Op.   70,    for   Piano  and 
Orchestra  3 

SAINT-SAENS — Symphony  in  A-Minor     1 
Symphonic  Poem,  "Danse  Macabre," 

Op.  40  1       12 

Marche  Militaire  1 

Concerto  No.  2,  in  G-Minor,  for 

Piano  and  Orchestra  3 

Concerto    in   A-Minor,    Op.    33,    for 

Violoncello  and  Orchestra  1 

SCHUBERT— Symphony    in    B  -  Minor, 

"Unfinished"  5        7 

Symphony  in  C-Major,  No.  7  2 

Entr'acte    and    Ballet    Music    from 

"Rosamunde"  1 

SCHUMANN— S  y  m  p  h  o  n  y  No.  2,  in 

C-Major,  Op.  61  2 

Overture,  "Julius  Caesar"  1 

Overture,  "Manfred,"  Op.  115  2 

Concerto  in  A-Minor,  Op.  54,  for 

Piano  and  Orchestra  2 

"Provencaliscb.es  Lied,"  "Mond- 
nacht,"  "In's  Freie"  (Songs  with 
Orchestra)  1  1 

SIBELIUS— S  y  m  p  h  o  n  y    No.    2,    in 

D-Major  4        1 

SIBELLA— "Desir"  (Song  with  Piano)       1 
SINDING— Concerto  in  A-Major,  Op.  45, 

for  Violin  and  Orchestra  2 

127 


SMETANA— Symphonic  Poem,  "Vltava"    2        3 
STRAUSS,  Richard— "Alpine"  Symphony    2 

Tone  Poem,  "Don  Juan,"  Op.  20  1 

Tone  Poem,  "Death  and  Transfigura- 
tion," Op.  24  4 
Symphonic  Poem,  "Till  Eulenspiegel 

and  his  Merry  Pranks"  4 

Symphonic  Poem,  "Macbeth"  2 

Festival  Music,  from  "Guntram"  2 

Love  Scene,  from  "Feuersnot"  1 

STRAUSS,  J.— Valse,  "The  Blue  Danube"    1         1 

Waltz,  "Artist's  Life"  1 

TCHAIKOVSKY— Symphony  No.  4,   in 

F-Minor,  Op.  36  1 

Symphony  No.  5,  in  E-Minor,  Op.  64    5         1 
Symphony  No.  6,  in  B-Minor,  Op.  74, 

"Pathetique"  1 

Overture,  "The  Voyevode"  2 

Orchestral  Fantasy,  "Romeo  and  Ju- 
liet" 3       10 
Concerto  No.  1,  in  B-flat-Minor,  Op. 

23,  for  Piano  and  Orchestra  2 

Concerto  in  D-Major,  Op.  35,  for  Vio- 
lin and  Orchestra  3 
Theme  and  Variations  for  Orchestra, 

Op.  55  4 

Scene    from    "Jeanne    d'Arc,"    for 

Soprano  and  Orchestra  1 

Letter  Scene,  from  "Eugen  Oniegin," 

for  Contralto  and  Orchestra  2 

Andante  Cantabile  1         1 

THOMAS,  A. Overture,  "Raymond"       1 

VERDI— Aria,  "Caro  Nome,"  from  Rigo- 

letto"  1 

VOLKMANN— Overture,  "Richard  III"       1 
WAGNER— Overture,  "Rienzi" 

Overture,  "The  Flying  Dutchman"          3 
Prelude,  "Lohengrin"  3         1 

Prelude  Act  I,  "Lohengrin"  1 

Prelude  Act  III,  "Lohengrin" 
Overture,  "Tannhaeuser"  4 

128 


"Bacchanale,"  from  "Tannhaeuser"         3 
Aria,     "Dich,     theure     Halle,     from 

"Tannhaeuser"  1 

Prelude  to  Act  III,  "Tannhaeuser"          3 
Prelude  and  Liebestod,  from  "Tristan 

und  Isolde"  4        2 

Prelude  and  Liebestod,  from  "Tristan 
und  Isolde"  (for  Soprano  and  Or- 
chestra) 1         2 
Prelude  Act  III,  and  Shepherd's  Tune, 
from    "Tristan    and    Isolde"    (arr. 
by  Wm.  H.  Humiston)                          3 
Prelude,  "Die  Meistersinger"                    5       10 
Prelude,  Act  III,  "Die  Meistersinger" 
A  Faust  Overture                                        2 
Entrance  of  the  Gods  into  Valhalla, 

from  "Das  Rheingold"  3 

Ride    of    the    Valkyries,    from    "Die 

Walkiire"  4         1 

Wotan's    Farewell    and    Magic    Fire 

Scene,  from  "Die  Walkiire"  3         3 

Briinnhilde's    Battle-Cry,    from    "Die 
Walkiire"    (for    Soprano   and   Or- 
chestra) 1 
"Waldweben,"  from  "Siegfried"              3         1 
Siegfried's    Rhine   Journey,    from 

"Gotterdammerung"  3 

"Immolation"  Scene,  from  "Gotter- 
dammerung" (for  Contralto  and 
Orchestra)  2 

Funeral  March,  from  "Gotterdammer- 

ung"  2 

Good  Friday  Spell,  from  "Parsifal"         4 
Prelude  and  Glorification,  from  "Parsi- 
fal" 1 
"Siegfried  Idyll"                                         4         3 
"Dreams"                                                    3        5 
Overture,  "The  Fairies"  1 
Centennial  March                                        2 


129 


Songs  with  Orchestra: 

a.  Stehe  Still 

b.  Traume 

c.  Schmerzen 

WEBER— Overture,  "Der  Freischiitz"  6 

Overture,  "Oberon"  1         1 

"Invitation   to   the   Dance"    (Orches- 
trated by  Weingartner)  1 
Concertstueck,   in   F-Minor,    Op.   79, 

for  Piano  and  Orchestra)  1 

Aria,    "Ocean,    du    Ungeheuer,"    for 

Mezzo  Soprano  and  Orchestra  1        2 

WIDOR— Symphony  No.  3,  in  E-Minor, 

for  Orchestra  and  Organ  1 

WOLF— Songs  with  Orchestra:  "Ver- 
borgenheit,"  "Der  Freund,"  "Er 
ist's"  1 

ZIMBALIST— Little  Russia  Folk  Songs 

(with  Orchestra)  2 


130 


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